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 Austria and from Hong Kong.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Manila.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 The American Breed to the disco kids.
I played it at the 40 Watt.
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 Move. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Deakin 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pantaleimon,
the Swans,
Jandek,
Desert Stars,
Scion,
The Doobie Brothers,
Angry Samoans,
Tim Buckley,
Harry Pussy,
La Düsseldorf,
Sound Behaviour,
Scott Walker,
The Doors,
Pylon,
Sight & Sound,
Stereo Dub,
Severed Heads,
Public Enemy,
Captain Beefheart & His Magic Band,
Joe Smooth,
The Offenders,
Kango’s Stein Massive,
Pussy Galore,
Sun Ra,
Rhythm & Sound,
Throbbing Gristle,
The Monochrome Set,
R.M.O.,
The Leaves,
Rapeman,
The Gun Club,
Ultimate Spinach,
The Peanut Butter Conspiracy,
Echospace,
Sad Lovers and Giants,
Manfred Mann's Earth Band,
Motorama,
Dorothy Ashby,
Selector Dub Narcotic,
Hasil Adkins,
Crispy Ambulance,
Spandau Ballet,
Terrestrial Tones,
Suburban Knight,
Pole,
Brick,
Barclay James Harvest,
Godley & Creme,
Half Japanese,
Maurizio,
Gichy Dan,
Bobby Byrd,
The Wake,
Can,
The Index,
Arthur Verocai,
MDC,
Alice Coltrane,
The Tremeloes,
Laurel Aitken,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.