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 Slovakia and from Calgary.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 OOIOO to the punk kids.
I played it at the 40 Watt.
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 Slick Rick. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Das Ding 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator 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 chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Pulsallama,
Fear,
Zapp,
Glenn Branca,
Excepter,
Crispian St. Peters,
Lee Hazlewood,
Smog,
Siglo XX,
Con Funk Shun,
Bauhaus,
Ohio Players,
The Standells,
Unrelated Segments,
Sun City Girls,
Jerry Gold Smith,
Brass Construction,
Kevin Saunderson,
The Barracudas,
Gerry Rafferty,
The New Christs,
B.T. Express,
Warren Ellis,
Arab on Radar,
Spoonie Gee,
Jesper Dahlbäck,
Rakim,
Yellowson,
Negative Approach,
Chris Corsano,
John Coltrane,
Deakin,
cv313,
ABBA,
Eve St. Jones,
Bobby Byrd,
Howard Jones,
Bobbi Humphrey,
Camberwell Now,
Barry Ungar,
Aaron Thompson,
Y Pants,
Nick Fraelich,
Mantronix,
Bizarre Inc.,
Radio Birdman,
Lou Christie,
Eurythmics,
Maurizio,
London Community Gospel Choir,
Blancmange,
A Certain Ratio,
John Lydon,
Tomorrow,
The Five Americans,
Crooked Eye,
Groovy Waters,
Vaughan Mason & Crew,
the Association,
DJ Sneak,
Circle Jerks,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.