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 Congo and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Beijing 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 sitar 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 Mars to the jazz 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 Moss Icon. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Mad Mike 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Kerri Chandler,
Lonnie Liston Smith,
Loose Ends,
Albert Ayler,
Chrome,
Bobby Hutcherson,
Roy Ayers,
Slick Rick,
John Cale,
Lizzy Mercier Descloux,
John Coltrane,
Sexual Harrassment,
Cymande,
Terry Callier,
Lyres,
Bluetip,
The Mummies,
The Residents,
Bauhaus,
Throbbing Gristle,
Popol Vuh,
Laurel Aitken,
Sound Behaviour,
Gang Gang Dance,
Kool Moe Dee,
The Selecter,
The Cowsills,
Rhythim Is Rhythim,
Smog,
Icehouse,
Girls At Our Best!,
David Axelrod,
The Doors,
Wally Richardson,
Urselle,
Fort Wilson Riot,
the Human League,
Sparks,
D'Angelo,
The Associates,
The Trojans,
Sister Nancy,
The Tremeloes,
Rahsaan Roland Kirk,
Arab on Radar,
Gang Green,
Organ,
Robert Görl,
The Pretty Things,
Animal Collective,
Erasure,
Connie Case,
Donald Byrd,
Barbara Tucker,
Tropical Tobacco,
The Index,
Dawn Penn,
Funky Four + One,
Little Man,
Unwound,
Scrapy,
Ultimate Spinach,
T. Rex, T. Rex, T. Rex, T. Rex.
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.