Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Libya and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dark Day to the grunge kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Junior Murvin. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
DJ Style,
Easy Going,
Eric B and Rakim,
The United States of America,
Ronan,
Wire,
The Fall,
Country Teasers,
Buzzcocks,
Mary Jane Girls,
Pantaleimon,
Swell Maps,
The Slits,
AZ,
Morten Harket,
It's A Beautiful Day,
Khruangbin,
The Moleskins,
Sandy B,
Gregory Isaacs,
Leonard Cohen,
Alison Limerick,
The Sonics,
Average White Band,
Jandek,
Kurtis Blow,
Stiv Bators,
Neu!,
the Soft Cell,
Depeche Mode,
Marmalade,
David Bowie,
Jimmy McGriff,
Pagans,
Avey Tare,
Michelle Simonal,
Gastr Del Sol,
Rapeman,
James Chance & The Contortions,
Henry Cow,
Peter and Kerry,
Young Marble Giants,
Sällskapet,
Super Lover Cee & Casanova Rud,
Nils Olav,
Arcadia,
Notorious Big And Bone Thugs,
Supertramp,
The Monks,
Guru Guru,
Mission of Burma,
Rod Modell,
Ronnie Foster,
The Velvet Underground,
Yusef Lateef,
R.M.O.,
E-Dancer,
the Swans,
The Zeros,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.