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 Seychelles and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Lyon 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 Lewis practice in a loft in Vancouver.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Crooked Eye to the rock kids.
I played it at the Roxy.
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 The Star Department. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Little Man 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba 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 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?
Byron Stingily,
Yusef Lateef,
Technova,
Pagans,
Tom Boy,
CMW,
Jacques Brel,
Kas Product,
Angels of Light & Akron/Family,
Gang Green,
Bobby Sherman,
Silicon Teens,
Joyce Sims,
the Slits,
Lou Christie,
Fear,
Oblivians,
Porter Ricks,
Flipper,
Pierre Henry,
Prince Buster,
Interpol,
Robert Görl,
Gang Gang Dance,
Wings,
Ken Boothe,
Archie Shepp,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
The Real Kids,
Excepter,
Alice Coltrane,
The Doobie Brothers,
Duran Duran,
Model 500,
Ohio Players,
Deadbeat,
Neu!,
Masters at Work,
Idris Muhammad,
Red Lorry Yellow Lorry,
The Dead C,
Thompson Twins,
Amon Düül II,
Camron Feat. Jay Z And Juelz,
Brick,
Scott Walker,
Lou Reed & John Cale,
Lalann,
EPMD,
Jandek,
The Dirtbombs,
The Music Machine,
Kevin Saunderson,
The New Christs,
Japan,
Cybotron,
Angry Samoans,
Icehouse,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.