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 Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Cairo 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 The Smoke to the techno kids.
I played it at CBGB's.
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 Deadbeat. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Swans 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 '90s.
I hear you're buying a theremin and a synthesizer 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Wings,
Vaughan Mason & Crew,
Robert Hood,
Drive Like Jehu,
Section 25,
Black Sheep,
Neu!,
Quantec,
Johnny Clarke,
Eurythmics,
Ronan,
The Trojans,
Minny Pops,
PIL,
Harry Pussy,
Traffic Nightmare,
The Birthday Party,
Procol Harum,
Ornette Coleman,
Von Mondo,
Nik Kershaw,
Barclay James Harvest,
The Leaves,
The Count Five,
Supertramp,
Mars,
Peter and Kerry,
Nation of Ulysses,
One Last Wish,
Sex Pistols,
Warren Ellis,
Crooked Eye,
48th St. Collective,
Avey Tare's Slasher Flicks,
Ossler,
Ultramagnetic MC's,
Wally Richardson,
China Crisis,
Quando Quango,
Crispian St. Peters,
D'Angelo,
Amon Düül,
Roy Ayers,
Moebius,
Larry & the Blue Notes,
Visage,
Peter & Gordon,
FM Einheit,
Sarah Menescal,
Black Flag,
Cymande,
a-ha,
Fort Wilson Riot,
John Lydon,
Barrington Levy,
DNA,
Easy Going,
Jacob Miller,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Vogues,
Andrew Hill,
Sister Nancy,
The Victims, The Victims, The Victims, The Victims.
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.