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 Portugal and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Madrid and Hong Kong.
I'm losing my edge to the art-school Paris 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 Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Roger Hodgson to the jazz 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 Gichy Dan. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Radiohead,
Bob Dylan,
Maleditus Sound,
the Fania All-Stars,
The Detroit Cobras,
Jeff Mills,
John Coltrane,
Liaisons Dangereuses,
Banda Bassotti,
Ultimate Spinach,
Brick,
Second Layer,
The Peanut Butter Conspiracy,
Cymande,
Ponytail,
Gil Scott-Heron & Brian Jackson,
Marine Girls,
Sex Pistols,
Jacob Miller,
The Knickerbockers,
The Beau Brummels,
Jeru the Damaja,
Josef K,
Scott Walker + Sunn O))),
Harmonia,
Malaria!,
Strawberry Alarm Clock,
New Age Steppers,
The Slackers,
Public Enemy,
UT,
Mars,
Kerri Chandler,
Major Organ And The Adding Machine,
Make Up,
The Mighty Diamonds,
Jawbox,
This Heat,
Audionom,
Ken Boothe,
Kas Product,
Johnny Osbourne,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Bootsy's Rubber Band,
Tomorrow,
Traffic Nightmare,
The Barracudas,
The Velvet Underground,
Boredoms,
The Dirtbombs,
Kaleidoscope,
Goldenarms,
Country Teasers,
The Golliwogs,
Erasure,
Scrapy,
Sonny Sharrock,
Cybotron,
Sight & Sound,
Organ,
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.