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 Greece and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 The Walker Brothers to the jazz 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 The Walker Brothers. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Bauhaus 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Ultramagnetic MC's,
The Motions,
Arthur Verocai,
Piero Umiliani,
Camouflage,
The Fortunes,
Eddi Front,
Japan,
Scratch Acid,
Eyeless In Gaza,
The Music Machine,
Funky Four + One,
Cybotron,
Section 25,
Warsaw,
Chris & Cosey,
Rod Modell,
Arab on Radar,
Mr. Review,
Motorama,
The Mummies,
Kas Product,
Roy Ayers,
Sandy B,
Yaz,
The Vogues,
the Association,
Trumans Water,
Ken Boothe,
Rufus Thomas,
Aswad,
Danielle Patucci,
L. Decosne,
Zapp,
Agitation Free,
John Foxx,
Circle Jerks,
Eric Dolphy,
Minnie Riperton,
the Human League,
Toni Rubio,
Be Bop Deluxe,
Underground Resistance,
Deutsch Amerikanische Freundschaft,
Justin Hinds & The Dominoes,
Thee Headcoats,
Tears for Fears,
Technova,
Talk Talk,
The Gories,
Lou Reed,
T.S.O.L.,
The Dead C,
Kool Moe Dee,
Dark Day,
Magma,
Little Man,
The Toasters,
Todd Terry,
Red Lorry Yellow Lorry,
Black Sheep,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.