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 Austria and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Shanghai 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 Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 World's Most to the jazz kids.
I played it at the Spitz.
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 Surgeon. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord 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 mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Ajijia Myrayebe,
Prince Buster,
Sparks,
Soft Machine,
Orchestral Manoeuvres in the Dark,
Camron Feat. Memphis Bleek And Beenie Seigel,
Frankie Knuckles,
Main Source,
The Jesus and Mary Chain,
Rapeman,
Harry Pussy,
Circle Jerks,
Terry Callier,
Bobby Womack,
Sam Rivers,
T.S.O.L.,
Nik Kershaw,
Symarip,
KRS-One,
the Swans,
Accadde A,
Sister Nancy,
Lucky Dragons,
Harpers Bizarre,
Country Joe & The Fish,
Barbara Tucker,
Sun Ra Arkestra,
Wire,
The Pop Group,
Excepter,
Bang On A Can,
Radio Birdman,
Peter & Gordon,
The Busters,
Boz Scaggs,
Niagra,
Echo & the Bunnymen,
Eric Dolphy,
a-ha,
John Lydon,
Stetsasonic,
Cybotron,
Index,
Bluetip,
The Royal Family And The Poor,
Bush Tetras,
Desert Stars,
Motorama,
Jeff Lynne,
Deepchord,
CMW,
The Flesh Eaters,
Con Funk Shun,
Funkadelic,
The Zeros,
Joey Negro,
Ten City,
Eurythmics,
Cecil Taylor,
The Star Department,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.