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 Moldova and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Halifax and Manila.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Hoover to the techno kids.
I played it at the Crocodile.
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 Stetsasonic. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Young Marble Giants,
Siglo XX,
Radiohead,
Soul Sonic Force,
Beasts of Bourbon,
Lalann,
Half Japanese,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Tears for Fears,
Simply Red,
The New Christs,
Lafayette Afro Rock Band,
Brick,
New York Dolls,
Susan Cadogan,
Rahsaan Roland Kirk,
Nils Olav,
Rhythim Is Rhythim,
Terry Callier,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
Kool Moe Dee,
The Moody Blues,
Whodini,
Mark Hollis,
Deakin,
Slick Rick,
Larry & the Blue Notes,
Thinking Fellers Union Local 282,
Marc Almond,
Panda Bear,
Fat Boys,
Ponytail,
Fugazi,
the Slits,
The Real Kids,
Barclay James Harvest,
Orchestral Manoeuvres in the Dark,
The Slackers,
Suburban Knight,
Arthur Verocai,
Newcleus,
Sun City Girls,
The Mighty Diamonds,
The Royal Family And The Poor,
Peter Gordon & Love of Life Orchestra,
Warsaw,
Roy Ayers Ubiquity,
The Happenings,
Yazoo,
Moby Grape,
The Dirtbombs,
Nation of Ulysses,
The Index,
Massinfluence,
Main Source,
Dual Sessions,
Cecil Taylor,
Pylon,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.