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 Czech Republic and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Lyon 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 The Monochrome Set to the electroclash 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 Public Enemy. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Joy Division record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Names,
Lou Christie,
cv313,
Heaven 17,
The Durutti Column,
Grey Daturas,
Kings Of Tomorrow,
Excepter,
Red Lorry Yellow Lorry,
Mark Hollis,
Davy DMX,
Saccharine Trust,
Pharaoh Sanders and the Fire Engines,
The Royal Family And The Poor,
Deakin,
The Last Poets,
Marcia Griffiths,
Minor Threat,
Minutemen,
Inner City,
KRS-One,
The Doors,
Cluster,
The Buckinghams,
Brothers Johnson,
Drexciya,
Urselle,
the Swans,
Tim Buckley,
Flash Fearless,
The Move,
FM Einheit,
Jerry Gold Smith,
The Gun Club,
Goldenarms,
Fugazi,
The Divine Comedy,
Alphaville,
Model 500,
Mantronix,
Dave Gahan,
Agent Orange,
Fort Wilson Riot,
Jeru the Damaja,
Interpol,
Scientists,
Banda Bassotti,
The Doobie Brothers,
Rapeman,
Harry Pussy,
Hashim,
Angels of Light & Akron/Family,
Sam Rivers,
Wings,
The Toasters,
The Music Machine,
Soul Sonic Force,
Selector Dub Narcotic,
The Jesus and Mary Chain,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.