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 Ivory Coast and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Lille 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 The Sonics 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 Agent Orange. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Gregory Isaacs 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar 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 rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Pierre Henry,
Lizzy Mercier Descloux,
De La Soul & Jungle Brothers,
The Neon Judgement,
Con Funk Shun,
Basic Channel,
The Mighty Diamonds,
Swans,
The Victims,
Japan,
Camberwell Now,
Nils Olav,
ABC,
The Red Krayola,
The Fire Engines,
Spoonie Gee,
The Sound,
Pantaleimon,
Spandau Ballet,
Sister Nancy,
Pulsallama,
Q65,
Eric Dolphy,
Gil Scott Heron,
Orchestral Manoeuvres in the Dark,
Fatback Band,
Dead Boys,
Brass Construction,
Reagan Youth,
R.M.O.,
Darondo,
cv313,
Wighnomy Brothers & Robag Wruhme,
Jerry's Kids,
Soul II Soul,
Magazine,
The Pop Group,
Richard Hell and the Voidoids,
Newcleus,
Blossom Toes,
the Swans,
The Smiths,
Bluetip,
Barry Ungar,
Deadbeat,
Ossler,
Rites of Spring,
Soft Cell,
Charles Mingus,
Technova,
Fort Wilson Riot,
Lafayette Afro Rock Band,
the Sonics,
D'Angelo,
Echospace,
The Monochrome Set,
Gichy Dan,
Wings,
The Stooges,
Dual Sessions,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.