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 Singapore and from Lille.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Halifax 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Marc Romboy vs. Booka Shade to the electroclash kids.
I played it at Cafe Wha.
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 Godley & Creme. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Terrestrial Tones 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 '90s.
I hear you're buying a güiro and an arpeggiator 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Fat Boys,
Moby Grape,
Peter & Gordon,
The Associates,
Franke,
Gabor Szabo,
Wings,
Ralphi Rosario,
Blake Baxter,
X-101,
Popol Vuh,
Lou Reed & John Cale,
Andrew Ashong & Theo Parrish,
Man Parrish,
Faraquet,
Bronski Beat,
Fatback Band,
Tomorrow,
U.S. Maple,
The Pretty Things,
Main Source,
Rites of Spring,
John Holt,
Dorothy Ashby,
Althea and Donna,
the Swans,
The Dirtbombs,
Louis and Bebe Barron,
Mantronix,
The West Coast Pop Art Experimental Band,
Altered Images,
the Sonics,
Teenage Jesus and the Jerks,
The Leaves,
Eric Copeland,
Glambeats Corp.,
Piero Umiliani,
The Sound,
Half Japanese,
Icehouse,
Skaos,
The Star Department,
Crispy Ambulance,
Livin' Joy,
Terry Callier,
Nation of Ulysses,
Ken Boothe,
Gary Puckett & The Union Gap,
Jacques Brel,
The Misunderstood,
Supertramp,
Average White Band,
Electric Prunes,
Pantytec,
The Litter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Danielle Patucci,
The Smiths,
Pole,
Nirvana,
The Cosmic Jokers,
The Sonics,
Kool Moe Dee,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.