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 Somalia and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
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 Tom Boy to the funk 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 Johnny Osbourne. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a guitar 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 theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Swell Maps,
Minnie Riperton,
Qualms,
Graham Central Station,
The Invisible,
Infiniti,
Gang of Four,
Marshall Jefferson,
Lucky Dragons,
Marmalade,
Dave Gahan,
Scientists,
The J.B.'s,
Stiv Bators,
John Coltrane,
It's A Beautiful Day,
E-Dancer,
The Busters,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Ornette Coleman,
Yusef Lateef,
Rekid,
Groovy Waters,
Japan,
Stockholm Monsters,
The Cure,
Eddi Front,
Ossler,
Funkadelic,
Gil Scott-Heron and Jamie xx,
Arthur Verocai,
Pharoah Sanders,
Smog,
Super Lover Cee & Casanova Rud,
Q and Not U,
Johnny Osbourne,
Max Romeo,
Spoonie Gee,
Minor Threat,
Popol Vuh,
Camron Feat. Jay Z And Juelz,
Albert Ayler,
Radio Birdman,
David Axelrod,
Parry Music,
The Searchers,
The Detroit Cobras,
Ten City,
Excepter,
Lizzy Mercier Descloux,
The Mojo Men,
Richard Hell and the Voidoids,
Prince Buster,
JFA,
Gang Starr,
Lou Christie,
Sun Ra Arkestra,
Donald Byrd,
Grey Daturas,
Sly & The Family Stone,
Jerry Gold Smith,
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.