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 Turkey and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 Blake Baxter to the punk 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 Robert Görl. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every the Association 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare 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 chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Sly & The Family Stone,
James White and The Blacks,
Pierre Henry,
David Bowie,
Vladislav Delay,
Lyres,
Maleditus Sound,
These Immortal Souls,
Minnie Riperton,
The Beau Brummels,
the Sonics,
Spoonie Gee,
Lonnie Liston Smith,
Technova,
Warren Ellis,
The Five Americans,
Rhythm & Sound,
Black Flag,
Dual Sessions,
Wire,
Agent Orange,
The Pop Group,
Piero Umiliani,
Wolf Eyes,
Leonard Cohen,
The Knickerbockers,
Aaron Thompson,
Hashim,
E-Dancer,
The Kinks,
Ice-T,
The Mojo Men,
Chris Corsano,
Index,
Gong,
Infiniti,
Joe Smooth,
Talk Talk,
Ken Boothe,
Livin' Joy,
The J.B.'s,
Richard Hell and the Voidoids,
8 Eyed Spy,
Byron Stingily,
Reuben Wilson,
Kerrie Biddell,
Bizarre Inc.,
the Slits,
Neil Young,
Josef K,
Eddi Front,
Larry & the Blue Notes,
Strawberry Alarm Clock,
The Smiths,
The Smoke,
Black Bananas,
Barclay James Harvest,
Von Mondo,
Khruangbin,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.