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 El Salvador and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Tokyo 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 güiro 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 kango's stein massive to the grunge kids.
I played it at the Troubador.
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 Jandek. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a rhodes 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 rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Susan Cadogan,
The Grass Roots,
Sexual Harrassment,
Terror Squad Feat. Camron,
The Detroit Cobras,
Jeff Mills,
Mars,
Anthony Braxton,
John Coltrane,
Slick Rick,
It's A Beautiful Day,
Larry & the Blue Notes,
The Black Dice,
Neu!,
Maleditus Sound,
Mad Mike,
Sonny Sharrock,
Rod Modell,
AZ,
Excepter,
Rites of Spring,
Wings,
Hardrive,
Swell Maps,
Gil Scott-Heron & Brian Jackson,
Red Lorry Yellow Lorry,
Lindisfarne,
The Associates,
DJ Sneak,
The Monochrome Set,
Pet Shop Boys,
Procol Harum,
Zapp,
CMW,
Public Image Ltd.,
Super Lover Cee & Casanova Rud,
The Doobie Brothers,
Absolute Body Control,
Liliput,
Wasted Youth,
Thompson Twins,
Public Enemy,
Aloha Tigers,
B.T. Express,
The Red Krayola,
Sam Rivers,
Liaisons Dangereuses,
Albert Ayler,
Make Up,
Technova,
Jacques Brel,
Country Teasers,
The Durutti Column,
Y Pants,
Reuben Wilson,
Gong,
The Alarm Clocks,
Bluetip,
Parry Music,
Joyce Sims,
Pagans,
The Mighty Diamonds,
Piero Umiliani,
The Evens, The Evens, The Evens, The Evens.
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.