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 Spain and from Tehran.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Jacob Miller to the electroclash kids.
I played it at the Spitz.
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 Quadrant. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb 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 synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Big Daddy Kane,
Monolake,
Blake Baxter,
Pete Rock & C.L. Smooth,
B.T. Express,
Public Enemy,
The Music Machine,
Desert Stars,
James White and The Blacks,
Laurel Aitken,
Sound Behaviour,
Sister Nancy,
Hot Snakes,
Junior Murvin,
Supertramp,
One Last Wish,
The Smiths,
The Techniques,
Little Man,
Subhumans,
The Zeros,
Barbara Tucker,
ABBA,
The Tremeloes,
Minnie Riperton,
The Gap Band,
Sunsets and Hearts,
Avey Tare's Slasher Flicks,
Gang Green,
The Angels of Light,
JFA,
The Associates,
Lungfish,
Ponytail,
The Sonics,
Idris Muhammad,
DeepChord presents Echospace,
Kerri Chandler,
Cabaret Voltaire,
Deakin,
Iggy Pop,
Rosa Yemen,
Ultravox,
The Cowsills,
Echo & the Bunnymen,
Whodini,
Dorothy Ashby,
Man Parrish,
Porter Ricks,
Andrew Ashong & Theo Parrish,
Robert Görl,
Gil Scott Heron,
Ronnie Foster,
Cecil Taylor,
Liaisons Dangereuses,
Model 500,
Schoolly D,
Reagan Youth,
Rekid,
Glambeats Corp.,
Pierre Henry,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.