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 Ivory Coast and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Major Organ And The Adding Machine to the grunge kids.
I played it at the Spitz.
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 Andrew Hill. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Mad Mike 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 '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Japan,
Clear Light,
Joe Finger,
Wighnomy Brothers & Robag Wruhme,
Siouxsie and the Banshees,
Quando Quango,
Joensuu 1685,
The Moody Blues,
AZ,
The Residents,
Chris & Cosey,
Bad Manners,
Arab on Radar,
Technova,
Spoonie Gee,
Strawberry Alarm Clock,
Toni Rubio,
Louis and Bebe Barron,
Robert Wyatt,
T.S.O.L.,
The Velvet Underground,
Ten City,
The Wake,
The Birthday Party,
Dead Boys,
the Bar-Kays,
Art Ensemble Of Chicago,
Sex Pistols,
Jimmy McGriff,
Arthur Verocai,
Fatback Band,
Sly & The Family Stone,
Zero Boys,
Bizarre Inc.,
Flamin' Groovies,
Johnny Osbourne,
Nils Olav,
Kayak,
The Gladiators,
Barbara Tucker,
The Dead C,
ABBA,
The Martian,
Stereo Dub,
Sonny Sharrock,
The Golliwogs,
Severed Heads,
Mr. Review,
Metal Thangz,
Kas Product,
Vainqueur,
Can,
Avey Tare,
Bush Tetras,
Talk Talk,
Jeff Lynne,
The Fire Engines,
Subhumans,
X-Ray Spex,
Hashim,
Howard Jones,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.