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 Micronesia and from Edmonton.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Columbus and Madrid.
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 Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Essential Logic to the disco kids.
I played it at the Hacienda.
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 Mark Hollis. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Dirtbombs 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 '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Gang Starr,
Letta Mbulu,
Con Funk Shun,
MC5,
Kauko Röyhkä ja Narttu,
Icehouse,
Minutemen,
Yusef Lateef,
Blake Baxter,
Thee Headcoats,
The Associates,
Nirvana,
Quadrant,
Desert Stars,
ABBA,
Symarip,
Eli Mardock,
Bizarre Inc.,
Bauhaus,
Curtis Mayfield,
Echo & the Bunnymen,
Dr. Dre and Snoop Doggy Dog,
Maurizio,
The Saints,
The Five Americans,
Sound Behaviour,
Royal Trux,
Mary Jane Girls,
Oppenheimer Analysis,
Super Lover Cee & Casanova Rud,
Todd Terry,
The Grass Roots,
K-Klass,
Tubeway Army,
Alison Limerick,
Deepchord,
Skriet,
Wasted Youth,
Radiohead,
Anthony Braxton,
Grauzone,
The West Coast Pop Art Experimental Band,
Jeff Mills,
Gil Scott-Heron and Jamie xx,
the Swans,
Fifty Foot Hose,
Faust,
Brothers Johnson,
H. Thieme,
Howard Jones,
Fad Gadget,
DeepChord presents Echospace,
Bluetip,
Todd Rundgren,
Grandmaster Flash and the Furious Five,
Byron Stingily,
The Sonics,
Bang on a Can All-Stars,
Bobby Sherman,
Lafayette Afro Rock Band,
Little Man,
Gang Green,
Soft Machine,
The Martian, The Martian, The Martian, The Martian.
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.