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 Russia and from Houston.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1973.
I'm losing my edge.
To all the kids in Halifax and Halifax.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Quadrant to the disco kids.
I played it at CBGB's.
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 New York Dolls. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Slick Rick,
The Slits,
Stockholm Monsters,
Trumans Water,
Kas Product,
Alphaville,
The Monochrome Set,
World's Most,
The Count Five,
Severed Heads,
Marshall Jefferson,
Tom Boy,
Underground Resistance,
The Doors,
The Gories,
Rotary Connection,
Motorama,
kango's stein massive,
Oppenheimer Analysis,
Unrelated Segments,
Pagans,
Al Stewart,
Barry Ungar,
The Vogues,
Joe Smooth,
A Certain Ratio,
Slave,
Lalann,
Sixth Finger,
Crispy Ambulance,
Second Layer,
the Human League,
Lyres,
Skarface,
Roxette,
Peter & Gordon,
Selector Dub Narcotic,
Organ,
Gian Franco Pienzio,
June Days,
Brand Nubian,
Black Sheep,
Metal Thangz,
Big Daddy Kane,
Flipper,
Cabaret Voltaire,
Can,
8 Eyed Spy,
Boogie Down Productions,
Das Ding,
Blake Baxter,
The Fire Engines,
Lafayette Afro Rock Band,
Wighnomy Brothers & Robag Wruhme,
Stereo Dub,
Skriet,
Anthony Braxton,
Parry Music,
The Martian,
The Toasters,
UT,
Dark Day, Dark Day, Dark Day, Dark Day.
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.