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 Marshall Islands and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 The Walker Brothers to the electroclash kids.
I played it at the Hacienda.
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 Neil Young. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Procol Harum,
PIL,
The Motions,
Sugar Minott,
Depeche Mode,
the Normal,
Basic Channel,
Quadrant,
Ken Boothe,
Agitation Free,
Robert Wyatt,
Masters at Work,
The Seeds,
Kerri Chandler,
Dual Sessions,
Second Layer,
Ornette Coleman,
The Mighty Diamonds,
Wings,
Gary Puckett & The Union Gap,
Major Organ And The Adding Machine,
Angels of Light & Akron/Family,
cv313,
John Coltrane,
Sarah Menescal,
Audionom,
These Immortal Souls,
Joe Finger,
Orchestral Manoeuvres in the Dark,
The Real Kids,
Scientists,
Ossler,
Excepter,
Au Pairs,
Jesper Dahlback,
Pagans,
Ralphi Rosario,
Boogie Down Productions,
The Mojo Men,
Byron Stingily,
Lou Reed & John Cale,
ABBA,
Roxette,
Grandmaster Flash and the Furious Five,
Absolute Body Control,
Sexual Harrassment,
Tubeway Army,
Lyres,
Roxy Music,
Flamin' Groovies,
Fort Wilson Riot,
Aloha Tigers,
Black Flag,
Tres Demented,
Thee Headcoats,
Delon & Dalcan,
Sun Ra,
Sonic Youth,
Von Mondo,
MDC,
Josef K,
Parry Music,
a-ha,
The Smoke, The Smoke, The Smoke, The Smoke.
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.