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 Pakistan and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Spokane 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Andrew Ashong & Theo Parrish to the techno kids.
I played it at the Roxy.
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 Skriet. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
The Grass Roots,
John Lydon,
Michelle Simonal,
The Birthday Party,
DeepChord presents Echospace,
Robert Görl,
Yaz,
Susan Cadogan,
Camberwell Now,
Avey Tare's Slasher Flicks,
Johnny Osbourne,
Bobby Hutcherson,
Gil Scott-Heron & Brian Jackson,
Thompson Twins,
Shuggie Otis,
Kool G Rap & DJ Polo,
Piero Umiliani,
X-101,
Gil Scott-Heron and Jamie xx,
The Busters,
Fluxion,
Be Bop Deluxe,
Sonny Sharrock,
Yellowson,
The Trojans,
FM Einheit,
Louis and Bebe Barron,
Bush Tetras,
Barbara Tucker,
Mad Mike,
The Leaves,
H. Thieme,
Deepchord,
Hot Snakes,
D'Angelo,
Kool Moe Dee,
Nas,
Albert Ayler,
The Skatalites,
L. Decosne,
The Dirtbombs,
Black Flag,
The Flesh Eaters,
Absolute Body Control,
Excepter,
Second Layer,
Index,
The Smiths,
Cluster,
New York Dolls,
Sex Pistols,
The Peanut Butter Conspiracy,
Hashim,
Judy Mowatt,
Lee Hazlewood,
Aural Exciters,
Bauhaus,
Dawn Penn,
The Black Dice,
The Smoke,
Joyce Sims,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.