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 France and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1974.
I'm losing my edge.
To all the kids in Bologna and Houston.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 Soft Cell to the grime kids.
I played it at Trash.
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 Angry Samoans. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 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 snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The Invisible,
Black Flag,
Kurtis Blow,
Kango’s Stein Massive,
Junior Murvin,
Dark Day,
Sound Behaviour,
Skaos,
Colin Newman,
Unwound,
Rakim,
Harmonia,
Rhythm & Sound,
Soft Cell,
Brand Nubian,
Fugazi,
Severed Heads,
Dawn Penn,
Harry Pussy,
Girls At Our Best!,
K-Klass,
Gichy Dan,
Technova,
Royal Trux,
Jacob Miller,
Half Japanese,
Malaria!,
The American Breed,
Danielle Patucci,
Larry & the Blue Notes,
Excepter,
Pussy Galore,
Janne Schatter,
Quadrant,
Pylon,
Second Layer,
LL Cool J,
Interpol,
Electric Light Orchestra,
Thompson Twins,
Eric B and Rakim,
Kool G Rap & DJ Polo,
Rhythim Is Rhythim,
Arcadia,
The Durutti Column,
Rekid,
The Misunderstood,
Dorothy Ashby,
Nils Olav,
Fat Boys,
Ossler,
Hasil Adkins,
The Pop Group,
Minnie Riperton,
Hot Snakes,
Roxette,
10cc,
Cameo,
The Moleskins,
Oppenheimer Analysis,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.