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 Paraguay and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Milan and Paris.
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 1973 at the first Television practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Ultimate Spinach to the dance kids.
I played it at the Hacienda.
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 Harpers Bizarre. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Model 500 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Icehouse,
This Heat,
Interpol,
Public Enemy,
Dual Sessions,
Eric B and Rakim,
Archie Shepp,
Sam Rivers,
the Normal,
Liliput,
Joe Finger,
Stiv Bators,
Delon & Dalcan,
Underground Resistance,
Symarip,
Jeru the Damaja,
K-Klass,
Pussy Galore,
Tommy Roe,
Clear Light,
Rekid,
Grauzone,
Slave,
Jerry Gold Smith,
The Beau Brummels,
Loose Ends,
Ash Ra Tempel,
New Order,
Japan,
June of 44,
Letta Mbulu,
Electric Prunes,
X-Ray Spex,
Ohio Players,
Angry Samoans,
D'Angelo,
Mission of Burma,
Nico,
Talk Talk,
In Retrospect,
Aswad,
Rowland S Howard / Lydia Lunch,
the Association,
Rhythim Is Rhythim,
Easy Going,
Rosa Yemen,
Sandy B,
The Mummies,
Pierre Henry,
The Slits,
Banda Bassotti,
Todd Rundgren,
Dorothy Ashby,
Nick Fraelich,
Rufus Thomas,
The Fuzztones,
Scratch Acid,
Angels of Light & Akron/Family,
Electric Light Orchestra,
Louis and Bebe Barron,
Skarface,
The Pop Group,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.