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 Vietnam and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the linndrum 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 Nick Fraelich to the disco 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 Bobbi Humphrey. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a harpsichord 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 chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Beasts of Bourbon,
The Five Americans,
World's Most,
The Count Five,
Bang on a Can All-Stars,
Rhythim Is Rhythim,
Das Ding,
Tomorrow,
Rowland S Howard / Lydia Lunch,
The Victims,
Blossom Toes,
The Barracudas,
A Certain Ratio,
DJ Style,
Bobby Womack,
Bang On A Can,
Slick Rick,
OOIOO,
Fugazi,
Jeff Mills,
Crash Course in Science,
Q65,
R.M.O.,
Ice-T,
David Axelrod,
Henry Cow,
Terrestrial Tones,
Quando Quango,
Danielle Patucci,
The Move,
Boz Scaggs,
Pantytec,
Country Teasers,
Siglo XX,
Steve Hackett,
Loose Ends,
Idris Muhammad,
Erasure,
Kas Product,
Andrew Hill,
Lindisfarne,
Ultra Naté,
Andrew Ashong & Theo Parrish,
Sonny Sharrock,
Tommy Roe,
the Swans,
Essential Logic,
Half Japanese,
Cecil Taylor,
Neil Young & Crazy Horse,
The Dirtbombs,
Johnny Clarke,
Cabaret Voltaire,
The Smiths,
Qualms,
the Germs,
The Skatalites,
Chris Corsano,
Gian Franco Pienzio,
The Golliwogs,
Franke,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.