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 Micronesia and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1970.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Bobby Womack to the rock 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 Darondo. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator 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 spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Radio Birdman,
The Remains,
AZ,
Judy Mowatt,
X-Ray Spex,
Toni Rubio,
Make Up,
Röyhkä ja Rättö ja Lehtisalo,
The Birthday Party,
Larry & the Blue Notes,
Magazine,
The Wake,
The Barracudas,
The Raincoats,
Bluetip,
JFA,
The Durutti Column,
This Heat,
Khruangbin,
Little Man,
Terrestrial Tones,
Blancmange,
The Smiths,
Con Funk Shun,
The Trojans,
Jeff Lynne,
Graham Central Station,
Pulsallama,
Lower 48,
The Fortunes,
The Martian,
Circle Jerks,
Gabor Szabo,
Pussy Galore,
Silicon Teens,
Franke,
Bill Near,
Pylon,
Lalo Schifrin,
Ultimate Spinach,
Warren Ellis,
Nils Olav,
Throbbing Gristle,
New Order,
Nico,
Qualms,
The Fall,
Deadbeat,
The Pop Group,
Alton Ellis,
The United States of America,
Moby Grape,
Josef K,
These Immortal Souls,
Ohio Players,
Eddi Front,
Barrington Levy,
Japan,
Anthony Braxton,
Interpol, Interpol, Interpol, Interpol.
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.