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 Belarus and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 The Standells to the punk kids.
I played it at CBGB's.
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 Pantaleimon. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Lalo Schifrin 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 '50s 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 Marmalade record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
A Flock of Seagulls,
Harpers Bizarre,
Amazonics,
Sight & Sound,
Adolescents,
Nick Cave & The Bad Seeds,
The Divine Comedy,
The Kinks,
Massinfluence,
Peter Gordon & Love of Life Orchestra,
New Order,
Barrington Levy,
Soul Sonic Force,
The Electric Prunes,
Sonny Sharrock,
The Move,
Electric Light Orchestra,
The Gun Club,
The Mighty Diamonds,
Faraquet,
Captain Beefheart & His Magic Band,
The Blues Magoos,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
Sly & The Family Stone,
Bobby Byrd,
X-101,
Main Source,
Don Cherry,
Basic Channel,
Delta 5,
Ten City,
Sparks,
The Modern Lovers,
Organ,
Lakeside,
Metal Thangz,
Nils Olav,
Orchestral Manoeuvres in the Dark,
Man Parrish,
Pet Shop Boys,
Marcia Griffiths,
Talk Talk,
Rahsaan Roland Kirk,
Rites of Spring,
Swell Maps,
Zapp,
Boredoms,
Cecil Taylor,
Aloha Tigers,
Curtis Mayfield,
Lonnie Liston Smith,
Lyres,
The Alarm Clocks,
Dave Gahan,
The Monks,
Radio Birdman,
The Mojo Men,
a-ha,
Inner City, Inner City, Inner City, Inner City.
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.