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 Uzbekistan and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
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 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 Michael McDonald 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 Rhythim Is Rhythim to the rock 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 Heaven 17. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Rotary Connection,
Robert Wyatt,
The Detroit Cobras,
Main Source,
Kings Of Tomorrow,
DeepChord presents Echospace,
Peter Gordon & Love of Life Orchestra,
Brand Nubian,
Nils Olav,
The Cowsills,
Unrelated Segments,
Rhythm & Sound,
Interpol,
Minor Threat,
Derrick Morgan,
This Heat,
Pharaoh Sanders and the Fire Engines,
Grauzone,
The Motions,
Roxy Music,
The Chocolate Watch Band,
The Monochrome Set,
Amon Düül II,
Quando Quango,
Skarface,
Organ,
Make Up,
Public Image Ltd.,
Be Bop Deluxe,
Pulsallama,
Infiniti,
Intrusion,
Slick Rick,
cv313,
Gang Green,
Excepter,
Half Japanese,
Tropical Tobacco,
Lizzy Mercier Descloux,
Jacob Miller,
Rahsaan Roland Kirk,
Cecil Taylor,
The Tremeloes,
Sällskapet,
Kango’s Stein Massive,
Minnie Riperton,
Rites of Spring,
Bootsy's Rubber Band,
Theoretical Girls,
Yazoo,
Don Cherry,
Liaisons Dangereuses,
The American Breed,
Super Lover Cee & Casanova Rud,
DJ Style,
Khruangbin,
Cal Tjader,
Urselle,
Wasted Youth,
X-101,
DJ Sneak,
Niagra, Niagra, Niagra, Niagra.
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.