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 Cambodia and from Taipei.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Michelle Simonal to the electroclash kids.
I played it at Cafe Wha.
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 Crash Course in Science. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Todd Terry,
Magazine,
Arthur Verocai,
Derrick May,
U.S. Maple,
a-ha,
Jerry's Kids,
Man Parrish,
The Searchers,
Peter & Gordon,
Deutsch Amerikanische Freundschaft,
Radiopuhelimet,
Zero Boys,
The Leaves,
Fluxion,
Amon Düül II,
June Days,
Model 500,
Fear,
Jerry Gold Smith,
Dawn Penn,
Traffic Nightmare,
The Trojans,
Lou Reed & Metallica,
Mo-Dettes,
Ohio Players,
Crash Course in Science,
Bobby Byrd,
Eurythmics,
The United States of America,
Lalo Schifrin,
The Dead C,
the Association,
Tears for Fears,
Procol Harum,
The Flesh Eaters,
E-Dancer,
Absolute Body Control,
Livin' Joy,
Althea and Donna,
Soft Cell,
Art Ensemble Of Chicago,
Y Pants,
Q65,
Terry Callier,
Chrome,
Beasts of Bourbon,
Sad Lovers and Giants,
Piero Umiliani,
Gabor Szabo,
The Blues Magoos,
Rahsaan Roland Kirk,
Derrick Morgan,
Donny Hathaway,
Don Cherry,
Bluetip,
Peter Gordon & Love of Life Orchestra,
B.T. Express,
The Men They Couldn't Hang,
The Jesus and Mary Chain,
Joey Negro,
Supertramp, Supertramp, Supertramp, Supertramp.
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.