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 Haiti and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Portland and Seoul.
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 Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 James White and The Blacks to the rock kids.
I played it at CBGB's.
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 Bill Near. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Cave & The Bad Seeds,
Peter Gordon & Love of Life Orchestra,
Alton Ellis,
Marmalade,
Bauhaus,
F. McDonald,
Black Bananas,
Ten City,
The Searchers,
The Fortunes,
Sällskapet,
Stiv Bators,
The Misunderstood,
Tubeway Army,
Beasts of Bourbon,
Cabaret Voltaire,
K-Klass,
Cymande,
The Doobie Brothers,
Japan,
Angry Samoans,
The Human League,
Joyce Sims,
Cybotron,
Reagan Youth,
Severed Heads,
The Music Machine,
Niagra,
Crispy Ambulance,
Henry Cow,
Matthew Bourne,
Scrapy,
the Human League,
Colin Newman,
The Barracudas,
Wolf Eyes,
Neu!,
Crash Course in Science,
Funkadelic,
Robert Wyatt,
Lonnie Liston Smith,
10cc,
Moebius,
Crime,
Derrick Morgan,
The Shadows of Knight,
Oppenheimer Analysis,
The Young Rascals,
Spandau Ballet,
Echospace,
Pharaoh Sanders and the Fire Engines,
Terrestrial Tones,
Massinfluence,
Sister Nancy,
Franke,
A Certain Ratio,
Godley & Creme,
X-101,
Lindisfarne,
Ronnie Foster,
Avey Tare's Slasher Flicks,
Yellowson,
Gregory Isaacs,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.