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 Mexico and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Gabor Szabo to the grime kids.
I played it at the Hacienda.
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 La Düsseldorf. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer 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 chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Modern Lovers,
Jacques Brel,
Blake Baxter,
Stiv Bators,
Radiopuhelimet,
The Motions,
Moebius,
Oppenheimer Analysis,
Heaven 17,
Crime,
Country Teasers,
Sister Nancy,
Todd Terry,
The Knickerbockers,
The Happenings,
Erykah Badu,
Model 500,
the Fania All-Stars,
The Moleskins,
Roger Hodgson,
Swans,
Jesper Dahlback,
Young Marble Giants,
Skarface,
Michelle Simonal,
The Music Machine,
Kerrie Biddell,
Flash Fearless,
The Cure,
the Sonics,
Cluster,
Anthony Braxton,
DJ Sneak,
Idris Muhammad,
Cameo,
The Sound,
Notorious Big And Bone Thugs,
The Residents,
This Heat,
Terry Callier,
Shoche,
kango's stein massive,
The Blues Magoos,
Groovy Waters,
Ice-T,
Rekid,
The Royal Family And The Poor,
Eve St. Jones,
Rakim,
10cc,
Lyres,
Roxette,
The Names,
Justin Hinds & The Dominoes,
The Slits,
L. Decosne,
Circle Jerks,
Bill Wells,
Sam Rivers,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.