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 Mexico and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Manchester 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 Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 The Skatalites to the rap kids.
I played it at the Troubador.
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 Nas. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a marimba 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Stockholm Monsters,
Todd Terry,
The Blues Magoos,
EPMD,
Outsiders,
Black Sheep,
Big Daddy Kane,
Crispy Ambulance,
Anthony Braxton,
Lakeside,
Sister Nancy,
Marcia Griffiths,
Adolescents,
Robert Görl,
Deakin,
The Sisters of Mercy,
Neil Young & Crazy Horse,
Severed Heads,
Ituana,
Angry Samoans,
Gregory Isaacs,
Hashim,
Orchestral Manoeuvres in the Dark,
Terrestrial Tones,
Kango’s Stein Massive,
Jeff Lynne,
Mark Hollis,
Gichy Dan,
Swell Maps,
Public Enemy,
One Last Wish,
Mandrill,
Lizzy Mercier Descloux,
The Slackers,
Pylon,
This Heat,
Pere Ubu,
Black Pus,
The Royal Family And The Poor,
Goldenarms,
Michelle Simonal,
Soul Sonic Force,
The Golliwogs,
Darondo,
Röyhkä ja Rättö ja Lehtisalo,
Barclay James Harvest,
Joyce Sims,
The Detroit Cobras,
Visionaries,LMNO, T- Love & Iriscience,
Half Japanese,
CMW,
Spoonie Gee,
Sarah Menescal,
Bluetip,
Technova,
The Wake,
The Smiths,
The Litter,
Yellowson,
Joey Negro,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.