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 Syria and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the grime kids.
I played it at the Troubador.
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 Traffic Nightmare. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal crunk 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 a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Fire Engines,
Darondo,
Unrelated Segments,
Minutemen,
Derrick May,
Matthew Bourne,
One Last Wish,
Japan,
Bob Dylan,
World's Most,
Vaughan Mason & Crew,
The Count Five,
F. McDonald,
Eddi Front,
Roy Ayers,
Visionaries,LMNO, T- Love & Iriscience,
Arcadia,
Flipper,
Shoche,
Minny Pops,
Faust,
Khruangbin,
Delon & Dalcan,
Television,
Barry Ungar,
Radio Birdman,
Terrestrial Tones,
Masters at Work,
Cabaret Voltaire,
The Birthday Party,
Siouxsie and the Banshees,
Alton Ellis,
Sight & Sound,
Art Ensemble Of Chicago,
The West Coast Pop Art Experimental Band,
Pantaleimon,
The Beau Brummels,
The Fortunes,
Ten City,
Ash Ra Tempel,
Aloha Tigers,
Intrusion,
Sexual Harrassment,
The Sonics,
Young Marble Giants,
Hardrive,
Scott Walker + Sunn O))),
Rotary Connection,
The Doobie Brothers,
a-ha,
Thompson Twins,
Lou Reed,
Average White Band,
The Real Kids,
The Music Machine,
Chrome,
The Residents,
Pagans,
Justin Hinds & The Dominoes,
Henry Cow,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.