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 Argentina and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 The Blues Magoos to the dance kids.
I played it at the 40 Watt.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Altered Images,
Sun Ra,
Grauzone,
R.M.O.,
The Smoke,
Black Flag,
De La Soul & Jungle Brothers,
Skarface,
Fatback Band,
Man Parrish,
Adolescents,
Jacob Miller,
Heavy D & The Boyz,
The New Christs,
Slick Rick,
Marcia Griffiths,
Crash Course in Science,
Manfred Mann's Earth Band,
Dennis Brown,
Godley & Creme,
Agent Orange,
Buzzcocks,
Au Pairs,
The Doors,
The Neon Judgement,
Lower 48,
Schoolly D,
The Flesh Eaters,
Public Image Ltd.,
Danielle Patucci,
Depeche Mode,
Joey Negro,
Gang Starr,
Crispy Ambulance,
Todd Rundgren,
Andrew Hill,
The Names,
Jacques Brel,
Symarip,
CMW,
Suicide,
Marmalade,
Rhythm & Sound,
Erykah Badu,
Henry Cow,
Sun Ra Arkestra,
Dark Day,
Max Romeo,
Nas,
Ultra Naté,
Flash Fearless,
Sarah Menescal,
Sällskapet,
Brass Construction,
The Moody Blues,
Isaac Hayes,
Tim Buckley,
Brick,
The Slackers,
Essential Logic,
Mantronix,
Shoche,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.