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 Argentina and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Jesper Dahlbäck to the rock 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 The Happenings. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Unwound 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar 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 synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
The Stooges,
The Barracudas,
48th St. Collective,
Kerri Chandler,
The Invisible,
Roxy Music,
Alice Coltrane,
The Last Poets,
Brothers Johnson,
Minny Pops,
Hoover,
Amon Düül,
Man Parrish,
Terrestrial Tones,
kango's stein massive,
Nas,
Icehouse,
The Wake,
Toni Rubio,
Supertramp,
Camouflage,
Bush Tetras,
Blake Baxter,
Ralphi Rosario,
Gabor Szabo,
Lou Reed & Metallica,
Gerry Rafferty,
Skriet,
Franke,
Technova,
Rufus Thomas,
The Men They Couldn't Hang,
Pantaleimon,
David Bowie,
F. McDonald,
Jeff Lynne,
Flipper,
Traffic Nightmare,
Bootsy Collins,
Scrapy,
Matthew Halsall,
Glenn Branca,
10cc,
Don Cherry,
Joe Finger,
Radio Birdman,
The Flesh Eaters,
Warren Ellis,
Sister Nancy,
JFA,
Mission of Burma,
Kerrie Biddell,
LL Cool J,
Amazonics,
DNA,
Ludus,
Y Pants,
Chris & Cosey,
Boredoms,
Liliput,
Graham Central Station,
Quantec, Quantec, Quantec, Quantec.
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.