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 Papua New Guinea and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
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 La Düsseldorf to the crunk kids.
I played it at the Crocodile.
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 Dead Boys. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Darondo,
Kas Product,
Flamin' Groovies,
Suburban Knight,
Hoover,
Scratch Acid,
Gil Scott Heron,
Interpol,
Harry Pussy,
Soul Sonic Force,
Sixth Finger,
Vainqueur,
Simply Red,
Robert Hood,
Man Eating Sloth,
Cheater Slicks,
Curtis Mayfield,
A Flock of Seagulls,
Carl Craig,
The Motions,
The Mummies,
The Victims,
Roger Hodgson,
Youth Brigade,
Schoolly D,
Public Enemy,
Ludus,
Neil Young & Crazy Horse,
Banda Bassotti,
Reuben Wilson,
The Gap Band,
Susan Cadogan,
Chris Corsano,
Sarah Menescal,
Moss Icon,
Grey Daturas,
Marshall Jefferson,
Yaz,
Spoonie Gee,
Crispian St. Peters,
Pharoah Sanders,
Grandmaster Flash and the Furious Five,
Boz Scaggs,
Cybotron,
Mary Jane Girls,
Slave,
Manfred Mann's Earth Band,
The Cosmic Jokers,
The Sound,
Neil Young,
Sight & Sound,
Harpers Bizarre,
Electric Light Orchestra,
Cecil Taylor,
Ohio Players,
Quando Quango,
ABBA,
Lou Reed,
Cameo,
Ken Boothe,
The Fire Engines,
Ronnie Foster,
The Remains, The Remains, The Remains, The Remains.
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.