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 Sudan and from Milan.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school London 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 Soft Boys practice in a loft in Cambridge.
I was working on the snare 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 Anthony Braxton to the grunge kids.
I played it at the Crocodile.
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 Blues Magoos. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare 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 guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Black Flag,
Smog,
Blossom Toes,
Crime,
The Wake,
Big Daddy Kane,
Hasil Adkins,
Peter & Gordon,
Robert Hood,
Pantytec,
Mo-Dettes,
Lou Reed,
Teenage Jesus and the Jerks,
Amon Düül II,
The Peanut Butter Conspiracy,
H. Thieme,
Dawn Penn,
Dorothy Ashby,
The Evens,
Ohio Players,
Terrestrial Tones,
10cc,
Gary Puckett & The Union Gap,
Dave Gahan,
Harmonia,
Todd Rundgren,
Marine Girls,
Joe Smooth,
The Moleskins,
The Standells,
Jesper Dahlbäck,
The Slits,
Soft Cell,
Kool Moe Dee,
Babytalk,
The J.B.'s,
Pharoah Sanders,
Rekid,
Susan Cadogan,
Second Layer,
DeepChord presents Echospace,
Pet Shop Boys,
Supertramp,
Alice Coltrane,
Colin Newman,
Fela Kuti,
The Gories,
The Mighty Diamonds,
Goldenarms,
Visionaries,LMNO, T- Love & Iriscience,
T.S.O.L.,
T. Rex,
Wolf Eyes,
Sugar Minott,
Q and Not U,
UT,
Thee Headcoats,
DNA,
Negative Approach,
Flipper,
the Association,
Ultimate Spinach,
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.