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 South Africa and from Houston.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Sao Paulo 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 organ 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 Bobby Sherman 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 Dawn Penn. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
The Men They Couldn't Hang,
The Cure,
Man Parrish,
Section 25,
Eric Copeland,
Funky Four + One,
Half Japanese,
David Bowie,
Selector Dub Narcotic,
Pulsallama,
Marvin Gaye,
Agent Orange,
Connie Case,
The Black Dice,
Index,
Michelle Simonal,
Ken Boothe,
The Divine Comedy,
Lizzy Mercier Descloux,
Liliput,
Black Pus,
Kool Moe Dee,
Buzzcocks,
Sarah Menescal,
The United States of America,
Derrick May,
Saccharine Trust,
MDC,
the Normal,
The Dave Clark Five,
Sonny Sharrock,
Mission of Burma,
Andrew Ashong & Theo Parrish,
Manfred Mann's Earth Band,
Bobby Sherman,
The Fall,
Boogie Down Productions,
Nation of Ulysses,
Erykah Badu,
K-Klass,
Quando Quango,
Ten City,
Arthur Verocai,
The Knickerbockers,
Avey Tare & Kría Brekkan,
Notorious Big And Bone Thugs,
Lou Reed & Metallica,
Absolute Body Control,
Bluetip,
Rapeman,
Scratch Acid,
Q and Not U,
James Chance & The Contortions,
The Angels of Light,
Babytalk,
Inner City,
Parry Music,
Chris Corsano,
The Velvet Underground,
Joensuu 1685,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.