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 Paraguay and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Taipei 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Pere Ubu to the grunge kids.
I played it at CBGB's.
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 Gong. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Young Marble Giants 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin 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 spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Hoover,
Strawberry Alarm Clock,
The Five Americans,
Bootsy Collins,
Pantytec,
Fela Kuti,
Aloha Tigers,
The Dirtbombs,
Angry Samoans,
Country Teasers,
Siouxsie and the Banshees,
The Jesus and Mary Chain,
Moss Icon,
Ohio Players,
Graham Central Station,
Rowland S Howard / Lydia Lunch,
E-Dancer,
Scan 7,
Animal Collective,
Laurel Aitken,
Severed Heads,
Warren Ellis,
Man Eating Sloth,
Rhythim Is Rhythim,
T.S.O.L.,
Kurtis Blow,
Pussy Galore,
Flipper,
Stetsasonic,
Scion,
cv313,
Derrick Morgan,
Parry Music,
Matthew Halsall,
Public Enemy,
The Cowsills,
The Divine Comedy,
Clear Light,
Neu!,
The Fortunes,
Bronski Beat,
Mary Jane Girls,
Jacques Brel,
The Fire Engines,
Pierre Henry,
Oblivians,
Minutemen,
Dual Sessions,
Banda Bassotti,
Röyhkä ja Rättö ja Lehtisalo,
The Barracudas,
The Detroit Cobras,
Das Ding,
Pantaleimon,
Pet Shop Boys,
8 Eyed Spy,
Wings,
Interpol, Interpol, Interpol, Interpol.
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.