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 Lesotho and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Lyon and Paris.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Roy Ayers to the grime 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 Barry Ungar. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Eric Copeland 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Motions,
Kurtis Blow,
Cheater Slicks,
Ronan,
Siglo XX,
Flipper,
The Sisters of Mercy,
La Düsseldorf,
Selector Dub Narcotic,
Big Daddy Kane,
Royal Trux,
Rowland S Howard / Lydia Lunch,
It's A Beautiful Day,
The Selecter,
Zapp,
Fifty Foot Hose,
Pagans,
Blancmange,
Crooked Eye,
Arab on Radar,
Sonic Youth,
Lonnie Liston Smith,
The Wake,
Sunsets and Hearts,
Bauhaus,
Deepchord,
Hot Snakes,
Eric Dolphy,
The Happenings,
The Moleskins,
Liliput,
Technova,
These Immortal Souls,
Dave Gahan,
Jesper Dahlback,
Public Image Ltd.,
Derrick Morgan,
The Durutti Column,
Ultravox,
Janne Schatter,
Sex Pistols,
Glambeats Corp.,
Joyce Sims,
Scientists,
Mo-Dettes,
Eli Mardock,
The Standells,
Qualms,
Kaleidoscope,
The Cowsills,
Aural Exciters,
The Slackers,
Archie Shepp,
Slave,
Aaron Thompson,
The Pop Group,
This Heat,
Suicide,
London Community Gospel Choir,
Wings,
Roger Hodgson,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.