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 New Zealand and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1974.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro 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 The Mummies to the crunk kids.
I played it at the Hacienda.
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 Real Kids. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '90s.
I hear you're buying a chamberlin and an organ 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 sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Quantec,
Sunsets and Hearts,
Bill Near,
Reuben Wilson,
Amazonics,
Joensuu 1685,
Eurythmics,
Simply Red,
Talk Talk,
Sad Lovers and Giants,
The Gladiators,
Ornette Coleman,
Monks,
Pere Ubu,
The Peanut Butter Conspiracy,
DJ Style,
Bluetip,
CMW,
Rahsaan Roland Kirk,
the Normal,
Sällskapet,
X-Ray Spex,
The West Coast Pop Art Experimental Band,
John Cale,
Icehouse,
48th St. Collective,
David Axelrod,
Black Moon,
Maleditus Sound,
Ajijia Myrayebe,
ABBA,
Hashim,
Hardrive,
Monolake,
Donald Byrd,
Barbara Tucker,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Siglo XX,
June of 44,
Henry Cow,
Nik Kershaw,
Electric Prunes,
Bizarre Inc.,
Jandek,
Von Mondo,
London Community Gospel Choir,
Soul Sonic Force,
Lightning Bolt,
Boredoms,
Lower 48,
Wolf Eyes,
Wally Richardson,
Stockholm Monsters,
Inner City,
UT,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.