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 Zambia and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Donny Hathaway to the jazz kids.
I played it at the 40 Watt.
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 Sight & Sound. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a guitar 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 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Half Japanese,
Minor Threat,
Oneida,
The Tremeloes,
JFA,
Lightning Bolt,
Danielle Patucci,
Little Man,
Notorious BIG live in Amsterdam,
Tom Boy,
Jawbox,
Tres Demented,
Fugazi,
The Moleskins,
Malaria!,
Jerry's Kids,
Marcia Griffiths,
The Sisters of Mercy,
DJ Style,
Fluxion,
Blancmange,
Stetsasonic,
Lyres,
Nils Olav,
The Blues Magoos,
Minutemen,
The Gladiators,
Selector Dub Narcotic,
Joey Negro,
the Fania All-Stars,
Icehouse,
Rod Modell,
Kerri Chandler,
Skarface,
Tommy Roe,
Hoover,
Scan 7,
Dual Sessions,
China Crisis,
Blossom Toes,
This Heat,
Minnie Riperton,
Lizzy Mercier Descloux,
Masters at Work,
Gabor Szabo,
Ornette Coleman,
Harry Pussy,
U.S. Maple,
Bobbi Humphrey,
Aaron Thompson,
Black Pus,
Ossler,
Alison Limerick,
The Remains,
Bootsy Collins,
Spandau Ballet,
Aural Exciters,
Maurizio,
Drive Like Jehu,
The Standells,
The Sound,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.