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 New Zealand and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school London 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Joe Finger to the rock 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 Fall. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Minnie Riperton,
Outsiders,
Lou Christie,
Moss Icon,
Subhumans,
Babytalk,
Scratch Acid,
Tres Demented,
the Slits,
Magazine,
Hardrive,
Procol Harum,
The Red Krayola,
The Walker Brothers,
Thee Headcoats,
Fort Wilson Riot,
Pussy Galore,
Kool Moe Dee,
Arcadia,
Quando Quango,
Brass Construction,
Little Man,
Rosa Yemen,
Radiohead,
UT,
Mr. Review,
It's A Beautiful Day,
Das Ding,
The New Christs,
Colin Newman,
Electric Light Orchestra,
Danielle Patucci,
Orchestral Manoeuvres in the Dark,
The Cowsills,
Chris & Cosey,
Pylon,
Scientists,
The Kinks,
Rapeman,
T. Rex,
The Gap Band,
Tim Buckley,
Marshall Jefferson,
Gregory Isaacs,
Bang on a Can All-Stars,
Ultravox,
DJ Style,
Hot Snakes,
Flamin' Groovies,
cv313,
The Sonics,
Angels of Light & Akron/Family,
Hasil Adkins,
Mad Mike,
Loose Ends,
Erykah Badu,
Porter Ricks,
Desert Stars,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.