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 Ireland and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1978.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Oppenheimer Analysis to the crunk 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 DJ Style. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Pierre Henry 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin 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 synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Thinking Fellers Union Local 282,
It's A Beautiful Day,
Sixth Finger,
Andrew Ashong & Theo Parrish,
The West Coast Pop Art Experimental Band,
Howard Jones,
Mr. Review,
The Misunderstood,
Siglo XX,
Hashim,
DJ Sneak,
Freddie Wadling,
The Barracudas,
Main Source,
The Seeds,
Morten Harket,
DNA,
Qualms,
Scrapy,
La Düsseldorf,
Los Fastidios,
Deutsch Amerikanische Freundschaft,
The Sonics,
Major Organ And The Adding Machine,
the Association,
Grauzone,
Eli Mardock,
Rotary Connection,
Gabor Szabo,
Nils Olav,
The Remains,
The Motions,
Parry Music,
Kerri Chandler,
Manfred Mann's Earth Band,
Kerrie Biddell,
The Human League,
Flamin' Groovies,
Jeff Lynne,
Gang Gang Dance,
The Neon Judgement,
Oneida,
Johnny Osbourne,
10cc,
Neil Young,
Jimmy McGriff,
James White and The Blacks,
Public Image Ltd.,
The Busters,
Slick Rick,
The Fortunes,
Scott Walker,
Tommy Roe,
The Monochrome Set,
Ultra Naté,
Nirvana,
Gil Scott-Heron and Jamie xx,
Unrelated Segments,
Peter Gordon & Love of Life Orchestra,
Sparks,
Bob Dylan,
New Order,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.