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 Madagascar and from Lille.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Gregory Isaacs to the grime 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 John Holt. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Theoretical Girls 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro 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,
The Detroit Cobras,
Ultravox,
The Motions,
The Cosmic Jokers,
Intrusion,
Zapp,
Davy DMX,
Organ,
ABC,
Piero Umiliani,
Youth Brigade,
Siglo XX,
New York Dolls,
Grandmaster Flash,
Groovy Waters,
Frankie Knuckles,
The Tremeloes,
Scion,
Echospace,
Cecil Taylor,
Yazoo,
Saccharine Trust,
Man Parrish,
Blancmange,
Radio Birdman,
John Holt,
Rhythm & Sound,
Amon Düül II,
Minutemen,
Jesper Dahlback,
Khruangbin,
The Pretty Things,
Crooked Eye,
Sun City Girls,
Faraquet,
Fela Kuti,
Colin Newman,
Aswad,
Harmonia,
Peter and Kerry,
Eyeless In Gaza,
Ossler,
Crispian St. Peters,
Roy Ayers Ubiquity,
Slave,
Hashim,
Kerri Chandler,
Ludus,
Liliput,
The Mummies,
Gabor Szabo,
Camberwell Now,
Rosa Yemen,
Lou Christie,
Electric Prunes,
The Move,
ABBA,
James Chance & The Contortions,
Moss Icon,
World's Most,
Ultramagnetic MC's,
Lizzy Mercier Descloux,
Prince Buster,
Yaz, Yaz, Yaz, Yaz.
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.