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 Mozambique and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school New York 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 rhodes 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 Selector Dub Narcotic to the grunge kids.
I played it at the Crocodile.
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 Piero Umiliani. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus 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?
Matthew Halsall,
Lou Reed & Metallica,
Section 25,
Suburban Knight,
Alton Ellis,
Marmalade,
CMW,
Adolescents,
Faust,
Pylon,
Crispy Ambulance,
The Remains,
David Bowie,
the Soft Cell,
K-Klass,
Funky Four + One,
Sonic Youth,
Talk Talk,
The Victims,
Sly & The Family Stone,
Nick Fraelich,
De La Soul & Jungle Brothers,
The Durutti Column,
Masters at Work,
Mary Jane Girls,
The Grass Roots,
The Saints,
Gary Puckett & The Union Gap,
Reagan Youth,
Mark Hollis,
The Kinks,
Visage,
Max Romeo,
New Order,
Angels of Light & Akron/Family,
Cybotron,
Tears for Fears,
Camouflage,
Lalo Schifrin,
Susan Cadogan,
Dual Sessions,
Alphaville,
Crash Course in Science,
Moss Icon,
Ajijia Myrayebe,
Television Personalities,
Derrick Morgan,
PIL,
Monolake,
The Selecter,
Terry Callier,
MC5,
Heaven 17,
Stereo Dub,
Babytalk,
Bootsy Collins,
Desert Stars,
The Sound,
Eric B and Rakim,
Todd Terry,
FM Einheit,
Bush Tetras,
Deepchord,
Crime,
Pantytec, Pantytec, Pantytec, Pantytec.
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.