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 Montenegro and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Mumbai 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 Wire practice in a loft in Watford.
I was working on the mellotron 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 Bill Near to the punk 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 David Bowie. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Surgeon record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a clarinet 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 harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Public Enemy,
Stetsasonic,
Marmalade,
Tomorrow,
Radiopuhelimet,
Isaac Hayes,
Girls At Our Best!,
The Doobie Brothers,
Nick Cave & The Bad Seeds,
The Chocolate Watch Band,
Yusef Lateef,
Barbara Tucker,
KRS-One,
Rapeman,
The Men They Couldn't Hang,
Robert Wyatt,
Bob Dylan,
Siouxsie and the Banshees,
Electric Prunes,
Kas Product,
Massinfluence,
Bush Tetras,
The Cosmic Jokers,
Make Up,
Throbbing Gristle,
Sunsets and Hearts,
Beasts of Bourbon,
OOIOO,
Jacob Miller,
The Searchers,
Mars,
Kerri Chandler,
Judy Mowatt,
Eli Mardock,
Outsiders,
Zapp,
Boz Scaggs,
Camberwell Now,
the Soft Cell,
Symarip,
Hot Snakes,
Lakeside,
The Gun Club,
UT,
Parry Music,
Alphaville,
Roxette,
Joe Smooth,
Tommy Roe,
Curtis Mayfield,
Danielle Patucci,
Monolake,
Röyhkä ja Rättö ja Lehtisalo,
Dorothy Ashby,
Los Fastidios,
Todd Rundgren,
Crime,
Lower 48,
Eric Copeland,
Terrestrial Tones,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.