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 Korea South and from Salvador.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Milan and Delhi.
I'm losing my edge to the art-school Accra 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 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 David Axelrod to the jazz kids.
I played it at the Astoria.
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 Cybotron. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Rahsaan Roland Kirk,
Underground Resistance,
Deepchord,
Jerry's Kids,
Flamin' Groovies,
Franke,
Symarip,
Albert Ayler,
Gian Franco Pienzio,
The Flesh Eaters,
Super Lover Cee & Casanova Rud,
Bobby Sherman,
Cluster,
Kauko Röyhkä ja Narttu,
Reuben Wilson,
Khruangbin,
Bang on a Can All-Stars,
Roxette,
Stetsasonic,
Mary Jane Girls,
Malaria!,
Drexciya,
Sun City Girls,
Kurtis Blow,
Oppenheimer Analysis,
Hasil Adkins,
Erasure,
Procol Harum,
Flipper,
Röyhkä ja Rättö ja Lehtisalo,
Cabaret Voltaire,
Talk Talk,
Ken Boothe,
June of 44,
Yusef Lateef,
Mandrill,
Metal Thangz,
Gil Scott Heron,
Letta Mbulu,
Lindisfarne,
Glambeats Corp.,
The Busters,
Mad Mike,
Thompson Twins,
Main Source,
The Gladiators,
Aaron Thompson,
Kenny Larkin,
Ronan,
Isaac Hayes,
Fad Gadget,
Gang of Four,
Bad Manners,
ABBA,
Lou Reed,
Bootsy's Rubber Band,
Laurel Aitken,
Heaven 17,
Jimmy McGriff,
The Sonics,
Ultimate Spinach,
Oblivians,
K-Klass, K-Klass, K-Klass, K-Klass.
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.