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 Zimbabwe and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Lyon 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 Feelies practice in a loft in Haledon.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Japan to the jazz 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 Electric Prunes. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Sexual Harrassment,
Bill Near,
Lou Reed,
The Mighty Diamonds,
Freddie Wadling,
The Five Americans,
Harpers Bizarre,
Basic Channel,
Spandau Ballet,
Marine Girls,
L. Decosne,
Amon Düül II,
Ken Boothe,
Marc Romboy vs. Booka Shade,
Flipper,
Vladislav Delay,
Joe Finger,
Roxy Music,
James White and The Blacks,
Country Joe & The Fish,
The Invisible,
The Toasters,
Roxette,
The Royal Family And The Poor,
Delon & Dalcan,
Davy DMX,
Radio Birdman,
Gary Puckett & The Union Gap,
Danielle Patucci,
Aural Exciters,
Radiohead,
Simply Red,
CMW,
Sister Nancy,
Popol Vuh,
Bobby Hutcherson,
The Victims,
Nation of Ulysses,
Barclay James Harvest,
X-101,
Youth Brigade,
Drexciya,
Nils Olav,
Jeff Lynne,
Ituana,
Lafayette Afro Rock Band,
Major Organ And The Adding Machine,
James Chance & The Contortions,
Bootsy's Rubber Band,
Lou Reed & Metallica,
Sonny Sharrock,
Fluxion,
Barrington Levy,
Faraquet,
Lower 48,
Icehouse,
a-ha,
Crime,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.