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 Italy and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1972.
I'm losing my edge.
To all the kids in New York and Seoul.
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 Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Marc Almond to the grime kids.
I played it at CBGB's.
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 Gichy Dan. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Inner City 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum 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 linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Bang on a Can All-Stars,
A Flock of Seagulls,
MC5,
The Names,
Terrestrial Tones,
Gabor Szabo,
Avey Tare's Slasher Flicks,
The Black Dice,
Subhumans,
The Motions,
Black Moon,
Procol Harum,
Icehouse,
Minny Pops,
De La Soul & Jungle Brothers,
The Music Machine,
Lindisfarne,
Kango’s Stein Massive,
Mad Mike,
James White and The Blacks,
The Saints,
Young Marble Giants,
Spoonie Gee,
Ice-T,
Kenny Larkin,
Flash Fearless,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pharaoh Sanders and the Fire Engines,
the Germs,
Soul Sonic Force,
Curtis Mayfield,
Jimmy McGriff,
Andrew Hill,
The Gladiators,
Inner City,
The Slits,
The Young Rascals,
Depeche Mode,
Quadrant,
Whodini,
Matthew Halsall,
Fad Gadget,
The Slackers,
Adolescents,
Louis and Bebe Barron,
Eve St. Jones,
Audionom,
Brothers Johnson,
Art Ensemble Of Chicago,
The Five Americans,
The Cure,
Warsaw,
Sarah Menescal,
Television,
The Fugs,
Shoche,
Sun Ra Arkestra,
Lou Reed,
Lakeside,
Roy Ayers,
B.T. Express,
Basic Channel,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.