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 Malta and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1974.
I'm losing my edge.
To all the kids in Manila and Shanghai.
I'm losing my edge to the art-school Seoul 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 rhodes 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 Dual Sessions to the grime 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 Japan. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a theremin 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 oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Oblivians,
Loose Ends,
Jesper Dahlbäck,
Matthew Bourne,
Rhythm & Sound,
Sun Ra,
Niagra,
The Index,
The Selecter,
Simply Red,
Dark Day,
Q and Not U,
the Bar-Kays,
Robert Görl,
Accadde A,
Eddi Front,
La Düsseldorf,
Guru Guru,
Stiv Bators,
The Skatalites,
Gil Scott-Heron & Brian Jackson,
Inner City,
Ornette Coleman,
Stockholm Monsters,
New York Dolls,
Faraquet,
The Raincoats,
Bronski Beat,
The Modern Lovers,
UT,
A Certain Ratio,
June Days,
The Moody Blues,
The Velvet Underground,
T. Rex,
Jeff Lynne,
Carl Craig,
Swell Maps,
The Blues Magoos,
John Foxx,
Scratch Acid,
Sonny Sharrock,
the Human League,
Blossom Toes,
a-ha,
Andrew Hill,
Bobby Womack,
Cybotron,
Henry Cow,
Toni Rubio,
Big Daddy Kane,
Wasted Youth,
Crooked Eye,
Michelle Simonal,
Sunsets and Hearts,
Bush Tetras,
Jawbox,
Model 500,
Gang of Four,
Kango’s Stein Massive,
Quando Quango,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.