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 Thailand and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Edmonton 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 Throbbing Gristle practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Cabaret Voltaire to the jazz kids.
I played it at the 40 Watt.
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 The Victims. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Yaz 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
These Immortal Souls,
Eden Ahbez,
Harmonia,
The Smoke,
The Doobie Brothers,
Deutsch Amerikanische Freundschaft,
Essential Logic,
Flamin' Groovies,
Deakin,
Make Up,
Crime,
Pere Ubu,
The Move,
Oppenheimer Analysis,
The Monks,
Radiopuhelimet,
Qualms,
B.T. Express,
Desert Stars,
Howard Jones,
Anthony Braxton,
The American Breed,
Barrington Levy,
Robert Wyatt,
Davy DMX,
Byron Stingily,
Parry Music,
Pharoah Sanders,
A Certain Ratio,
Sad Lovers and Giants,
Brick,
Lalann,
Section 25,
X-Ray Spex,
Marmalade,
Archie Shepp,
Gil Scott-Heron and Jamie xx,
Notorious BIG live in Amsterdam,
Ice-T,
Minor Threat,
Mandrill,
Avey Tare,
Röyhkä ja Rättö ja Lehtisalo,
Derrick Morgan,
Jerry's Kids,
Kauko Röyhkä ja Narttu,
Dorothy Ashby,
Funkadelic,
F. McDonald,
Bobby Byrd,
Saccharine Trust,
Outsiders,
June of 44,
Heavy D & The Boyz,
Au Pairs,
The Slits,
Sonny Sharrock,
Japan,
the Human League,
Brand Nubian,
John Cale,
The Offenders,
Siouxsie and the Banshees,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.