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 Nauru and from Delhi.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet 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 Lower 48 to the dance kids.
I played it at the Spitz.
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 Blues Magoos. All the underground hits.
All Index tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Ituana,
Cybotron,
Tears for Fears,
Mantronix,
Sound Behaviour,
Youth Brigade,
Fugazi,
Buzzcocks,
Sonny Sharrock,
Oneida,
Sexual Harrassment,
Inner City,
FM Einheit,
Barrington Levy,
Sunsets and Hearts,
Rapeman,
Bauhaus,
Avey Tare & Kría Brekkan,
This Heat,
The Offenders,
Jesper Dahlback,
Michelle Simonal,
Gang Gang Dance,
The Index,
Saccharine Trust,
Peter Gordon & Love of Life Orchestra,
8 Eyed Spy,
The Electric Prunes,
Dawn Penn,
Jeff Mills,
Man Eating Sloth,
Simply Red,
Siglo XX,
Ultramagnetic MC's,
Wally Richardson,
Erasure,
The Doors,
Connie Case,
Alice Coltrane,
Pharoah Sanders,
Jeru the Damaja,
Surgeon,
Au Pairs,
Altered Images,
Freddie Wadling,
New Order,
Flash Fearless,
MDC,
Public Image Ltd.,
Whodini,
Barclay James Harvest,
Joe Finger,
John Foxx,
The Jesus and Mary Chain,
10cc,
MC5,
Max Romeo,
Bobby Hutcherson,
The Detroit Cobras,
Gastr Del Sol,
Japan,
Nik Kershaw,
Lou Reed & John Cale,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.