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 Lithuania and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the theremin 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 Marshall Jefferson to the funk 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 Joe Smooth. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal dance 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 an oboe 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 mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Soul II Soul,
Model 500,
Crispy Ambulance,
the Soft Cell,
Pharoah Sanders,
The Golliwogs,
Joy Division,
Peter Gordon & Love of Life Orchestra,
Avey Tare's Slasher Flicks,
Visionaries,LMNO, T- Love & Iriscience,
Blake Baxter,
Bobby Hutcherson,
The Fire Engines,
Godley & Creme,
Cybotron,
Jimmy McGriff,
Junior Murvin,
Brick,
Kas Product,
Hoover,
U.S. Maple,
Gabor Szabo,
Funky Four + One,
Duran Duran,
Second Layer,
Stiv Bators,
Sonny Sharrock,
Eden Ahbez,
A Flock of Seagulls,
Andrew Ashong & Theo Parrish,
Icehouse,
The Barracudas,
Pere Ubu,
Negative Approach,
Masters at Work,
Qualms,
Marvin Gaye,
Rufus Thomas,
Ice-T,
KRS-One,
Clear Light,
Mark Hollis,
Cheater Slicks,
Urselle,
The Gladiators,
Fatback Band,
Gary Puckett & The Union Gap,
Cabaret Voltaire,
Boredoms,
Sound Behaviour,
Adolescents,
Aswad,
Graham Central Station,
Amazonics,
Theoretical Girls,
The Wake,
Richard Hell and the Voidoids,
Chris & Cosey,
Arcadia,
Sunsets and Hearts,
Be Bop Deluxe,
Pole, Pole, Pole, Pole.
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.