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 Zambia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 A Flock of Seagulls to the dance kids.
I played it at the Roxy.
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 Public Enemy. All the underground hits.
All The Tremeloes 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 jazz 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 theremin and an oboe 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Pagans,
Fear,
David Axelrod,
Marcia Griffiths,
Bobby Byrd,
Mission of Burma,
Slave,
DJ Sneak,
The Fall,
Porter Ricks,
Stetsasonic,
Surgeon,
Mo-Dettes,
The Real Kids,
Pet Shop Boys,
Peter Gordon & Love of Life Orchestra,
Panda Bear,
Soul Sonic Force,
Delta 5,
Desert Stars,
Khruangbin,
Throbbing Gristle,
Josef K,
Glenn Branca,
Laurel Aitken,
The Monks,
The Knickerbockers,
Skaos,
Barry Ungar,
The Busters,
It's A Beautiful Day,
Kas Product,
Fluxion,
Wighnomy Brothers & Robag Wruhme,
Deadbeat,
The Pretty Things,
Jeff Lynne,
This Heat,
The J.B.'s,
Saccharine Trust,
Mad Mike,
The Pop Group,
8 Eyed Spy,
a-ha,
Judy Mowatt,
The Buckinghams,
The Gun Club,
Albert Ayler,
The Smoke,
Jacques Brel,
Moby Grape,
Black Flag,
Motorama,
The New Christs,
Excepter,
DNA,
DeepChord presents Echospace,
Soulsonic Force,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.