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 Mozambique and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Pop Group to the electroclash kids.
I played it at the Astoria.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a spring reverb 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The Raincoats,
Lou Reed & John Cale,
Matthew Bourne,
Panda Bear,
Jeru the Damaja,
Bang On A Can,
Tom Boy,
The Names,
The Fugs,
Rahsaan Roland Kirk,
Scratch Acid,
Bluetip,
The Gun Club,
X-Ray Spex,
Spandau Ballet,
Yaz,
Barbara Tucker,
The Trojans,
Sister Nancy,
Malaria!,
Roy Ayers,
Anakelly,
Loose Ends,
Notorious BIG live in Amsterdam,
Masters at Work,
Bizarre Inc.,
Archie Shepp,
Marcia Griffiths,
Suicide,
Yazoo,
David McCallum,
Magazine,
Howard Jones,
The Toasters,
Slave,
Neil Young,
Sonic Youth,
Minny Pops,
Rowland S Howard / Lydia Lunch,
Outsiders,
Roger Hodgson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Barclay James Harvest,
Trumans Water,
The Smoke,
Sun Ra,
New York Dolls,
The Young Rascals,
Camberwell Now,
The Pretty Things,
Arab on Radar,
Girls At Our Best!,
China Crisis,
FM Einheit,
Lou Christie,
Boredoms,
The Human League,
Chrome,
Lower 48,
Franke,
Lafayette Afro Rock Band,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.