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 Kiribati and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Rahsaan Roland Kirk to the punk 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 Gastr Del Sol. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Shadows of Knight 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
The Birthday Party,
Be Bop Deluxe,
Joensuu 1685,
Deutsch Amerikanische Freundschaft,
The Gap Band,
Jerry's Kids,
Selector Dub Narcotic,
Glambeats Corp.,
kango's stein massive,
Sad Lovers and Giants,
The Mojo Men,
Gong,
Roxy Music,
Lindisfarne,
DJ Style,
New York Dolls,
Gang Green,
Liaisons Dangereuses,
Radiopuhelimet,
Mandrill,
JFA,
Dark Day,
Brothers Johnson,
Blake Baxter,
Arab on Radar,
Flipper,
Josef K,
Buzzcocks,
Cameo,
Graham Central Station,
A Flock of Seagulls,
Flamin' Groovies,
Cybotron,
Circle Jerks,
The Young Rascals,
Carl Craig,
Nation of Ulysses,
Clear Light,
Howard Jones,
Ralphi Rosario,
Bang on a Can All-Stars,
KRS-One,
Peter Gordon & Love of Life Orchestra,
Tubeway Army,
The Dirtbombs,
X-Ray Spex,
Essential Logic,
Derrick May,
Funky Four + One,
The Slackers,
Neil Young,
Iggy Pop,
The J.B.'s,
Kings Of Tomorrow,
Notorious BIG live in Amsterdam,
Reagan Youth,
Traffic Nightmare,
Unrelated Segments,
Marc Romboy vs. Booka Shade,
Television Personalities,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.