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 San Marino and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Swell Maps to the punk kids.
I played it at the Hacienda.
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 Rhythm & Sound. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Pantytec,
Cluster,
Section 25,
Magazine,
Al Stewart,
Soft Cell,
The Pretty Things,
D'Angelo,
New Age Steppers,
Crooked Eye,
R.M.O.,
Wighnomy Brothers & Robag Wruhme,
Delta 5,
Marcia Griffiths,
The Dirtbombs,
The Misunderstood,
Ohio Players,
Sonic Youth,
Agitation Free,
Franke,
Connie Case,
New Order,
Jesper Dahlback,
Kenny Larkin,
The Victims,
Fela Kuti,
Glenn Branca,
Oppenheimer Analysis,
Aloha Tigers,
Sonny Sharrock,
Warren Ellis,
Goldenarms,
Crispian St. Peters,
David McCallum,
Guru Guru,
Fatback Band,
Spandau Ballet,
Janne Schatter,
Big Daddy Kane,
Nick Fraelich,
Brothers Johnson,
Soft Machine,
Sexual Harrassment,
Mr. Review,
Gil Scott-Heron and Jamie xx,
JFA,
A Certain Ratio,
The Techniques,
Kaleidoscope,
the Association,
Television,
Essential Logic,
Jacques Brel,
UT,
Mandrill,
Harmonia,
Chrome,
A Flock of Seagulls,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.