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 Bahrain and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Anakelly to the techno kids.
I played it at the Roxy.
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 Kings Of Tomorrow. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
James Chance & The Contortions,
Mad Mike,
The Toasters,
Soul Sonic Force,
Subhumans,
Jacques Brel,
Shuggie Otis,
Don Cherry,
Banda Bassotti,
Derrick Morgan,
John Cale,
Boredoms,
Bootsy Collins,
Soft Machine,
The Skatalites,
New York Dolls,
The Men They Couldn't Hang,
Magazine,
Hoover,
The Gap Band,
D'Angelo,
Jimmy McGriff,
Audionom,
Ultimate Spinach,
Theoretical Girls,
The Modern Lovers,
Ultra Naté,
The Blues Magoos,
Super Lover Cee & Casanova Rud,
Bootsy's Rubber Band,
Cluster,
Bill Near,
Susan Cadogan,
PIL,
Agitation Free,
Easy Going,
Dark Day,
Nick Fraelich,
Faraquet,
Spandau Ballet,
Jesper Dahlback,
Joey Negro,
Angry Samoans,
Index,
Infiniti,
John Coltrane,
Matthew Bourne,
The Monochrome Set,
The Peanut Butter Conspiracy,
Glambeats Corp.,
Crispian St. Peters,
Wally Richardson,
Lebanon Hanover,
The Music Machine,
Blancmange,
Youth Brigade,
Chrome,
The Barracudas,
Lower 48,
The Sound,
Andrew Ashong & Theo Parrish,
Funkadelic,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.