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 Jordan and from Houston.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Madrid 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Judy Mowatt to the disco 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 Hot Snakes. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Brothers Johnson 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 '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet 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,
Massinfluence,
Crash Course in Science,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Flipper,
Tears for Fears,
Popol Vuh,
Pantytec,
Qualms,
Grandmaster Flash,
Intrusion,
Big Daddy Kane,
the Germs,
Ultramagnetic MC's,
Colin Newman,
Junior Murvin,
Rufus Thomas,
The Moleskins,
Brick,
Johnny Osbourne,
Hasil Adkins,
Glambeats Corp.,
Tropical Tobacco,
Steve Hackett,
The Smiths,
Peter and Kerry,
Delta 5,
L. Decosne,
Pere Ubu,
Scrapy,
Lebanon Hanover,
Be Bop Deluxe,
Rod Modell,
Rowland S Howard / Lydia Lunch,
Janne Schatter,
The Monks,
Suicide,
Morten Harket,
London Community Gospel Choir,
Bad Manners,
Arcadia,
John Lydon,
Desert Stars,
Altered Images,
The Victims,
Procol Harum,
Oppenheimer Analysis,
Isaac Hayes,
The Standells,
Radio Birdman,
Bobby Byrd,
Eddi Front,
One Last Wish,
Agent Orange,
Gastr Del Sol,
Sugar Minott,
Cymande,
Matthew Bourne,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.