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 Comoros and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Manchester 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 Bronski Beat practice in a loft in Brixton.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Nils Olav to the funk 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 Stetsasonic. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Khruangbin 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Pole,
Bizarre Inc.,
Essential Logic,
Porter Ricks,
Nik Kershaw,
Frankie Knuckles,
Rapeman,
Laurel Aitken,
Avey Tare & Kría Brekkan,
Wally Richardson,
The Skatalites,
Deakin,
Depeche Mode,
Joe Finger,
Aloha Tigers,
Lou Reed,
Skriet,
The Mummies,
The Fuzztones,
Avey Tare's Slasher Flicks,
Ossler,
The Young Rascals,
Cluster,
Carl Craig,
Los Fastidios,
Drexciya,
Marc Almond,
Brand Nubian,
Dennis Brown,
Lower 48,
Sunsets and Hearts,
The Fire Engines,
Arcadia,
Curtis Mayfield,
Boredoms,
Siglo XX,
Brick,
Maurizio,
Graham Central Station,
Malaria!,
Easy Going,
Avey Tare,
Marc Romboy vs. Booka Shade,
Ponytail,
The Names,
Q65,
Yusef Lateef,
kango's stein massive,
James Chance & The Contortions,
Brass Construction,
Mark Hollis,
Monolake,
June Days,
Marmalade,
John Lydon,
Aswad,
Warren Ellis,
The Stooges,
Saccharine Trust,
Bauhaus,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.