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 Laos and from Manchester.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
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 oboe 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 Kaleidoscope to the rock kids.
I played it at Trash.
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 Raincoats. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Hasil Adkins 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Jeff Mills,
Ohio Players,
Public Enemy,
Blake Baxter,
Brass Construction,
Wire,
Whodini,
Pantaleimon,
Roy Ayers,
Roxy Music,
Ultimate Spinach,
Kango’s Stein Massive,
X-Ray Spex,
Sun City Girls,
Siglo XX,
The Men They Couldn't Hang,
Gabor Szabo,
Schoolly D,
The Moleskins,
Junior Murvin,
June Days,
Kas Product,
The Grass Roots,
Todd Rundgren,
Dawn Penn,
PIL,
Dual Sessions,
Kool G Rap & DJ Polo,
Japan,
Johnny Clarke,
Camouflage,
Procol Harum,
OOIOO,
Intrusion,
Pet Shop Boys,
Cluster,
Notorious BIG live in Amsterdam,
Kool Moe Dee,
Little Man,
48th St. Collective,
Man Parrish,
Severed Heads,
Young Marble Giants,
Gerry Rafferty,
Red Lorry Yellow Lorry,
Iggy Pop,
The Music Machine,
Liliput,
The Buckinghams,
Fluxion,
Underground Resistance,
FM Einheit,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Smoke,
Selector Dub Narcotic,
Negative Approach,
Leonard Cohen,
David Bowie,
The Shadows of Knight,
Wasted Youth,
Avey Tare's Slasher Flicks,
Swans,
Infiniti,
Boredoms, Boredoms, Boredoms, Boredoms.
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.