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 Jordan and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1975.
I'm losing my edge.
To all the kids in New York and Manila.
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 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 Minutemen to the crunk kids.
I played it at the Troubador.
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 K-Klass. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal electroclash 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 a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
The United States of America,
Can,
Main Source,
Audionom,
Sight & Sound,
Strawberry Alarm Clock,
AZ,
James Chance & The Contortions,
Underground Resistance,
Whodini,
Fear,
Maurizio,
Justin Hinds & The Dominoes,
Man Parrish,
Bob Dylan,
Glenn Branca,
New York Dolls,
Ituana,
The Doors,
Davy DMX,
Josef K,
Second Layer,
Deakin,
Dennis Brown,
June of 44,
Urselle,
Minutemen,
Warren Ellis,
Marine Girls,
Jeff Lynne,
Robert Görl,
Arthur Verocai,
Liaisons Dangereuses,
Brothers Johnson,
Deutsch Amerikanische Freundschaft,
Skarface,
The J.B.'s,
Cecil Taylor,
KRS-One,
Gregory Isaacs,
Graham Central Station,
Marc Romboy vs. Booka Shade,
The Blues Magoos,
Kings Of Tomorrow,
Rowland S Howard / Lydia Lunch,
Sugar Minott,
Roger Hodgson,
Joey Negro,
Jandek,
Bill Near,
Make Up,
the Bar-Kays,
Dead Boys,
X-Ray Spex,
The Grass Roots,
Flamin' Groovies,
The Litter,
ABBA,
Popol Vuh,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.