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 Sweden and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Kings Of Tomorrow to the grunge 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 Sunsets and Hearts. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Arthur Verocai 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Gang Green,
Rosa Yemen,
Surgeon,
Buzzcocks,
Marmalade,
cv313,
Mark Hollis,
Liliput,
Dark Day,
Rhythim Is Rhythim,
Television Personalities,
Liaisons Dangereuses,
Johnny Clarke,
Kool Moe Dee,
Kurtis Blow,
The Barracudas,
Duran Duran,
Procol Harum,
The Smoke,
The Skatalites,
UT,
Roy Ayers,
The Dave Clark Five,
Roxy Music,
Henry Cow,
Sunsets and Hearts,
D'Angelo,
Sixth Finger,
Public Image Ltd.,
Deutsch Amerikanische Freundschaft,
Scratch Acid,
Wolf Eyes,
The Buckinghams,
Jimmy McGriff,
Yusef Lateef,
The Fortunes,
Black Moon,
Idris Muhammad,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
Isaac Hayes,
Babytalk,
Soulsonic Force,
The Moody Blues,
Radiopuhelimet,
Kerrie Biddell,
Fifty Foot Hose,
The Neon Judgement,
Bobbi Humphrey,
Soul Sonic Force,
Bang on a Can All-Stars,
Half Japanese,
Lou Reed & John Cale,
Deakin,
The Misunderstood,
Iggy Pop,
Kool G Rap & DJ Polo,
The Grass Roots,
Panda Bear,
Television,
Jerry's Kids,
Steve Hackett,
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.