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 Kosovo and from Columbus.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Columbus 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 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 Nils Olav to the rap 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 Art Ensemble Of Chicago. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Au Pairs 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 '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Sunsets and Hearts,
MC5,
Warsaw,
Reuben Wilson,
Brick,
The West Coast Pop Art Experimental Band,
Scrapy,
Tomorrow,
Young Marble Giants,
Cecil Taylor,
Yaz,
Lucky Dragons,
Gang Gang Dance,
The Index,
The Electric Prunes,
Altered Images,
Roger Hodgson,
Soft Machine,
The Move,
Fort Wilson Riot,
Intrusion,
Gichy Dan,
Deutsch Amerikanische Freundschaft,
La Düsseldorf,
Minnie Riperton,
Throbbing Gristle,
Rhythim Is Rhythim,
OOIOO,
Beasts of Bourbon,
Tres Demented,
Sarah Menescal,
Negative Approach,
Eden Ahbez,
Toni Rubio,
Can,
Black Bananas,
Suburban Knight,
Reagan Youth,
Khruangbin,
Half Japanese,
Maleditus Sound,
Frankie Knuckles,
Public Image Ltd.,
Dawn Penn,
Man Eating Sloth,
Justin Hinds & The Dominoes,
Josef K,
Glambeats Corp.,
Ultimate Spinach,
the Fania All-Stars,
Rowland S Howard / Lydia Lunch,
DJ Style,
Amon Düül,
Nation of Ulysses,
Terry Callier,
Soul Sonic Force,
Sam Rivers,
David Axelrod,
Iggy Pop,
The Techniques, The Techniques, The Techniques, The Techniques.
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.