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 Colombia and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1960 to 1973.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Manila 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Thompson Twins to the jazz 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 Louis and Bebe Barron. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Swans,
Henry Cow,
Sarah Menescal,
Jacques Brel,
The Sound,
Section 25,
The Busters,
Sugar Minott,
Toni Rubio,
Yaz,
Underground Resistance,
Buzzcocks,
Babytalk,
Heavy D & The Boyz,
Reagan Youth,
Sonny Sharrock,
Glenn Branca,
The Selecter,
Moby Grape,
Fort Wilson Riot,
Rhythm & Sound,
Ultra Naté,
Jeru the Damaja,
Marc Almond,
Beasts of Bourbon,
Danielle Patucci,
Ornette Coleman,
DNA,
The Sonics,
Khruangbin,
Quadrant,
Justin Hinds & The Dominoes,
Blake Baxter,
Tommy Roe,
Prince Buster,
The Golliwogs,
Soul Sonic Force,
Absolute Body Control,
Traffic Nightmare,
Bobby Sherman,
Visage,
Thinking Fellers Union Local 282,
Magma,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kurtis Blow,
Be Bop Deluxe,
Vaughan Mason & Crew,
Chris & Cosey,
Kool Moe Dee,
Lindisfarne,
JFA,
Andrew Ashong & Theo Parrish,
Amazonics,
Marc Romboy vs. Booka Shade,
Hashim,
Max Romeo,
The Dirtbombs,
The Star Department,
Mad Mike,
Harpers Bizarre,
Brass Construction,
The Remains,
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.