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 Fiji and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Trumans Water to the rap 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 Y Pants. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal disco 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 an oboe 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Jeru the Damaja,
The Cure,
Jacques Brel,
Drive Like Jehu,
Blancmange,
June of 44,
The Index,
Black Moon,
Man Parrish,
Peter Gordon & Love of Life Orchestra,
Judy Mowatt,
Supertramp,
Sandy B,
Reuben Wilson,
OOIOO,
Brass Construction,
Barbara Tucker,
Lalo Schifrin,
Sparks,
The Dead C,
Idris Muhammad,
Donny Hathaway,
Black Bananas,
Fifty Foot Hose,
Basic Channel,
The Saints,
Nirvana,
Skaos,
cv313,
Qualms,
Alice Coltrane,
Matthew Halsall,
Marmalade,
Gil Scott-Heron & Brian Jackson,
Ponytail,
Nik Kershaw,
Louis and Bebe Barron,
One Last Wish,
Ultra Naté,
Lucky Dragons,
Blake Baxter,
The Sound,
Urselle,
Mark Hollis,
Tom Boy,
Graham Central Station,
Gregory Isaacs,
Absolute Body Control,
Davy DMX,
Scratch Acid,
Sound Behaviour,
Swell Maps,
Joensuu 1685,
Con Funk Shun,
Jesper Dahlbäck,
The Searchers,
Flash Fearless,
The Velvet Underground,
Josef K,
Bobby Hutcherson,
The Pop Group,
Cameo,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.