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 Uzbekistan and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the güiro 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 Bronski Beat to the funk kids.
I played it at CBGB's.
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 Liaisons Dangereuses. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a chamberlin 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 linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Judy Mowatt,
The Move,
Captain Beefheart & His Magic Band,
Sad Lovers and Giants,
B.T. Express,
The Names,
Yusef Lateef,
The Victims,
Major Organ And The Adding Machine,
Glambeats Corp.,
Jesper Dahlbäck,
Orchestral Manoeuvres in the Dark,
Moss Icon,
Eli Mardock,
Robert Hood,
Inner City,
Chris & Cosey,
Red Lorry Yellow Lorry,
Roxy Music,
Junior Murvin,
Cymande,
Peter and Kerry,
Make Up,
The Shadows of Knight,
In Retrospect,
Television Personalities,
Brass Construction,
The Grass Roots,
The Black Dice,
June of 44,
Scion,
Jeff Lynne,
Juan Atkins,
Man Parrish,
Mantronix,
Pere Ubu,
De La Soul & Jungle Brothers,
Archie Shepp,
Ultra Naté,
the Swans,
DJ Style,
Black Pus,
The Smoke,
Agitation Free,
The Monks,
Skarface,
Duran Duran,
The Fuzztones,
Deutsch Amerikanische Freundschaft,
Rhythim Is Rhythim,
Graham Central Station,
Frankie Knuckles,
Davy DMX,
Kerri Chandler,
Swell Maps,
Fad Gadget,
The Invisible,
The Golliwogs,
Stockholm Monsters,
These Immortal Souls,
Boredoms, Boredoms, Boredoms, Boredoms.
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.