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 Czech Republic and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 Tom Verlaine 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 Saints to the techno 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 B.T. Express. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Buzzcocks,
June of 44,
Gichy Dan,
Anthony Braxton,
Sparks,
The Dirtbombs,
Peter and Kerry,
Blancmange,
The Saints,
Sister Nancy,
Junior Murvin,
Monks,
Roxy Music,
Depeche Mode,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
These Immortal Souls,
The J.B.'s,
Crooked Eye,
A Flock of Seagulls,
The Evens,
Max Romeo,
Stereo Dub,
The Residents,
Tears for Fears,
Jimmy McGriff,
The Zeros,
Agitation Free,
Ponytail,
the Bar-Kays,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
Bootsy's Rubber Band,
The Pop Group,
Shoche,
Pharaoh Sanders and the Fire Engines,
Delon & Dalcan,
Soulsonic Force,
Dave Gahan,
Q65,
Anakelly,
Maurizio,
Robert Hood,
Subhumans,
Letta Mbulu,
Visage,
Mars,
Mary Jane Girls,
Lakeside,
X-101,
Danielle Patucci,
Richard Hell and the Voidoids,
The Birthday Party,
OOIOO,
KRS-One,
Nas, Nas, Nas, Nas.
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.