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 Barbados and from Tokyo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic to the jazz kids.
I played it at the Astoria.
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 Cymande. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a linndrum 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 harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
The Cramps,
The Last Poets,
Girls At Our Best!,
Curtis Mayfield,
the Association,
Prince Buster,
Bad Manners,
Archie Shepp,
Funky Four + One,
Model 500,
Zapp,
Thee Headcoats,
Wings,
The Dave Clark Five,
Max Romeo,
Pulsallama,
Buzzcocks,
Ornette Coleman,
The Modern Lovers,
New Age Steppers,
Grandmaster Flash and the Furious Five,
The Electric Prunes,
Lebanon Hanover,
Sällskapet,
Lindisfarne,
48th St. Collective,
The Shadows of Knight,
Visage,
Nirvana,
Shoche,
Dennis Brown,
Barrington Levy,
The Angels of Light,
Lakeside,
The Slackers,
Alice Coltrane,
These Immortal Souls,
Ultramagnetic MC's,
Joe Smooth,
Bobbi Humphrey,
Black Pus,
The Victims,
X-102,
Siglo XX,
Neil Young & Crazy Horse,
Soulsonic Force,
Bobby Hutcherson,
Scientists,
Todd Terry,
Clear Light,
Kayak,
Gang Starr,
Blancmange,
Wire,
Nils Olav,
Robert Görl,
Loose Ends,
Neu!,
Theoretical Girls,
The Gun Club,
The Motions, The Motions, The Motions, The Motions.
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.