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 Equatorial Guinea and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Jakarta 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 Neu! practice in a loft in Düsseldorf.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Sugar Minott to the electroclash kids.
I played it at the 40 Watt.
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 Brass Construction. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Agitation Free,
Mo-Dettes,
Liaisons Dangereuses,
Blake Baxter,
The Cowsills,
Groovy Waters,
Wolf Eyes,
Dorothy Ashby,
Lungfish,
Roy Ayers,
Louis and Bebe Barron,
Kayak,
Hasil Adkins,
New Age Steppers,
The Golliwogs,
The Five Americans,
Roger Hodgson,
The Cure,
Animal Collective,
Deakin,
Derrick May,
Kevin Saunderson,
Deutsch Amerikanische Freundschaft,
Nick Fraelich,
The Birthday Party,
Sun Ra Arkestra,
Dr. Dre and Snoop Doggy Dog,
Swell Maps,
The Invisible,
Prince Buster,
Mark Hollis,
Captain Beefheart & His Magic Band,
Jawbox,
Newcleus,
DJ Style,
Jacques Brel,
Wire,
Eddi Front,
Siouxsie and the Banshees,
Brothers Johnson,
the Normal,
Ice-T,
Angels of Light & Akron/Family,
Michelle Simonal,
Rapeman,
Kerrie Biddell,
Colin Newman,
Crispy Ambulance,
Section 25,
Franke,
The Smoke,
Grauzone,
Tom Boy,
kango's stein massive,
Country Joe & The Fish,
Young Marble Giants,
Mantronix,
Second Layer,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.