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 Gambia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school Taipei 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 Chic practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Matthew Halsall to the rock 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 Soft Machine. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Junior Murvin 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Deutsch Amerikanische Freundschaft,
Symarip,
48th St. Collective,
Bluetip,
Minutemen,
Brothers Johnson,
These Immortal Souls,
Gang Gang Dance,
June Days,
La Düsseldorf,
The Dirtbombs,
Public Enemy,
Cluster,
The Slackers,
Selector Dub Narcotic,
Barrington Levy,
Angry Samoans,
Bizarre Inc.,
Graham Central Station,
World's Most,
The Five Americans,
Jeff Lynne,
8 Eyed Spy,
The Doors,
Lakeside,
Arcadia,
Gang of Four,
X-102,
The Red Krayola,
The Music Machine,
Kas Product,
Neil Young,
The Golliwogs,
Shuggie Otis,
The Move,
The Cure,
Lindisfarne,
X-101,
Fort Wilson Riot,
The Techniques,
The Velvet Underground,
Animal Collective,
Jeff Mills,
EPMD,
Godley & Creme,
The Evens,
Magazine,
Arthur Verocai,
The Gap Band,
Amon Düül II,
Sly & The Family Stone,
Barry Ungar,
Pere Ubu,
The Alarm Clocks,
Reuben Wilson,
Ituana,
Art Ensemble Of Chicago,
Amazonics,
Audionom,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.