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 Mauritius and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Madrid 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 linndrum 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 Lou Reed & John Cale to the punk 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 Gian Franco Pienzio. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum 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 marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Intrusion,
Unrelated Segments,
June of 44,
The Stooges,
Joensuu 1685,
John Cale,
Rotary Connection,
Stockholm Monsters,
Wolf Eyes,
The Birthday Party,
The Flesh Eaters,
the Association,
Heavy D & The Boyz,
Oblivians,
Amon Düül,
Donald Byrd,
DJ Style,
Soft Machine,
Nico,
Ornette Coleman,
Althea and Donna,
Eurythmics,
Kool Moe Dee,
Hashim,
Byron Stingily,
Jawbox,
Jacques Brel,
Matthew Bourne,
Cabaret Voltaire,
Minny Pops,
Aloha Tigers,
Clear Light,
Vainqueur,
Porter Ricks,
Lalo Schifrin,
Monks,
Jimmy McGriff,
The Dead C,
The Pop Group,
KRS-One,
The Buckinghams,
the Swans,
F. McDonald,
Gil Scott Heron,
Section 25,
Gil Scott-Heron & Brian Jackson,
Theoretical Girls,
Brass Construction,
Roxy Music,
Lungfish,
Avey Tare's Slasher Flicks,
June Days,
Chris & Cosey,
Bad Manners,
Malaria!,
Todd Terry,
Procol Harum,
The Music Machine,
Gil Scott-Heron and Jamie xx,
Boredoms, Boredoms, Boredoms, Boredoms.
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.