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 Russia and from Copenhagen.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Delhi 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Vainqueur to the techno kids.
I played it at the Astoria.
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 Cecil Taylor. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro 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 spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Depeche Mode,
Johnny Clarke,
H. Thieme,
Crime,
Eyeless In Gaza,
A Certain Ratio,
Yellowson,
The Busters,
Scion,
June Days,
The Blues Magoos,
Porter Ricks,
The Golliwogs,
Terrestrial Tones,
The Standells,
Ornette Coleman,
The Gladiators,
James Chance & The Contortions,
Kool Moe Dee,
Unwound,
Jeff Lynne,
Soft Machine,
Johnny Osbourne,
Vladislav Delay,
Sarah Menescal,
Cymande,
The Slackers,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Bill Wells,
Colin Newman,
Sad Lovers and Giants,
Roxette,
Tomorrow,
Arab on Radar,
Subhumans,
Pantytec,
Junior Murvin,
Supertramp,
Crispy Ambulance,
Shoche,
Fear,
Boogie Down Productions,
Barclay James Harvest,
Roger Hodgson,
Popol Vuh,
Crooked Eye,
Tommy Roe,
Fugazi,
Dave Gahan,
the Soft Cell,
Man Eating Sloth,
Stereo Dub,
This Heat,
DJ Sneak,
Tears for Fears,
The Doors,
Groovy Waters,
The Cowsills,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.