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 Iraq and from Columbus.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Lille 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Prince Buster to the funk kids.
I played it at the Troubador.
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 Hashim. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Gian Franco Pienzio,
the Slits,
Rhythim Is Rhythim,
Althea and Donna,
New Order,
Mr. Review,
Brass Construction,
Vainqueur,
Scott Walker,
The Alarm Clocks,
Outsiders,
Ralphi Rosario,
AZ,
B.T. Express,
John Lydon,
LL Cool J,
Saccharine Trust,
The Mighty Diamonds,
The Toasters,
OOIOO,
Lou Reed,
Skaos,
Interpol,
Pulsallama,
Desert Stars,
Groovy Waters,
The Blues Magoos,
Negative Approach,
The Stooges,
Lakeside,
MDC,
Junior Murvin,
Anakelly,
London Community Gospel Choir,
Lou Reed & Metallica,
The Trojans,
The Martian,
Grauzone,
Warren Ellis,
the Association,
Bobby Hutcherson,
The Slits,
Sonny Sharrock,
The Durutti Column,
Rites of Spring,
Eyeless In Gaza,
Vaughan Mason & Crew,
Tropical Tobacco,
Fela Kuti,
Animal Collective,
Eric B and Rakim,
The Blackbyrds,
Sällskapet,
John Holt,
Gabor Szabo,
The United States of America,
Angry Samoans,
Goldenarms,
Marcia Griffiths,
Whodini,
Moss Icon,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.