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 Pakistan and from Calgary.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Rhythm & Sound to the grunge 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 Dave Gahan. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Arthur Verocai,
Monks,
Grauzone,
The Leaves,
OOIOO,
Niagra,
De La Soul & Jungle Brothers,
Rhythim Is Rhythim,
The Smoke,
the Bar-Kays,
Urselle,
Laurel Aitken,
Can,
Connie Case,
Mandrill,
The Sisters of Mercy,
Eddi Front,
Hashim,
Juan Atkins,
Electric Prunes,
Q65,
Kenny Larkin,
the Fania All-Stars,
Junior Murvin,
The Move,
Kool Moe Dee,
Cabaret Voltaire,
Soft Machine,
Magma,
The Men They Couldn't Hang,
Sällskapet,
Kerri Chandler,
Gregory Isaacs,
Dark Day,
Hardrive,
Marvin Gaye,
KRS-One,
The American Breed,
Warsaw,
Whodini,
The Index,
Black Moon,
Wolf Eyes,
The Litter,
The Names,
JFA,
Funky Four + One,
Parry Music,
Tommy Roe,
Barbara Tucker,
The Skatalites,
Boredoms,
Sound Behaviour,
Anthony Braxton,
The Gladiators,
Archie Shepp,
Excepter,
Deadbeat,
The Count Five,
Tomorrow,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.