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 Finland and from Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Blackbyrds to the electroclash kids.
I played it at the Crocodile.
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 Black Dice. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Eric Dolphy 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 '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Rhythim Is Rhythim,
The Cowsills,
Juan Atkins,
Röyhkä ja Rättö ja Lehtisalo,
Sixth Finger,
James White and The Blacks,
The Invisible,
Aaron Thompson,
Can,
Blake Baxter,
Sam Rivers,
Spoonie Gee,
Reagan Youth,
Johnny Osbourne,
Chris Corsano,
The Shadows of Knight,
Oneida,
The Men They Couldn't Hang,
Bronski Beat,
the Soft Cell,
Bill Near,
Altered Images,
The Martian,
The Beau Brummels,
Richard Hell and the Voidoids,
Lucky Dragons,
The Gun Club,
the Human League,
Pharoah Sanders,
B.T. Express,
Chris & Cosey,
Eve St. Jones,
Kings Of Tomorrow,
Gregory Isaacs,
Cluster,
The Remains,
Don Cherry,
8 Eyed Spy,
James Chance & The Contortions,
Lower 48,
Strawberry Alarm Clock,
The Peanut Butter Conspiracy,
Grauzone,
Stetsasonic,
Amon Düül,
Country Joe & The Fish,
Fad Gadget,
Sarah Menescal,
The Fugs,
Rekid,
Prince Buster,
Masters at Work,
Accadde A,
Judy Mowatt,
Electric Light Orchestra,
Absolute Body Control,
Black Flag,
Laurel Aitken,
Soul II Soul,
Joensuu 1685,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.