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 Niger and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Lille 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 snare 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 Fifty Foot Hose to the punk 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 Susan Cadogan. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every the Bar-Kays 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Jawbox,
Y Pants,
Kool G Rap & DJ Polo,
Notorious BIG live in Amsterdam,
Inner City,
Groovy Waters,
Rapeman,
Lee Hazlewood,
Prince Buster,
ABC,
Visage,
Motorama,
The Invisible,
Al Stewart,
U.S. Maple,
The Slits,
World's Most,
Ajijia Myrayebe,
The Doors,
Chrome,
Average White Band,
Soft Cell,
Bobbi Humphrey,
Terry Callier,
Joe Finger,
Andrew Hill,
Neil Young & Crazy Horse,
Echospace,
Theoretical Girls,
Nas,
Junior Murvin,
Ronan,
Bobby Womack,
The Durutti Column,
Siglo XX,
Lyres,
Mantronix,
Fat Boys,
Sixth Finger,
Ultramagnetic MC's,
David Axelrod,
the Human League,
Angry Samoans,
Alice Coltrane,
Skaos,
Colin Newman,
Nirvana,
Rhythm & Sound,
London Community Gospel Choir,
Steve Hackett,
The Remains,
Adolescents,
Kevin Saunderson,
Wolf Eyes,
Flash Fearless,
Letta Mbulu,
Tomorrow,
Gian Franco Pienzio,
EPMD,
Gang Starr,
Nils Olav,
Nation of Ulysses,
Monks, Monks, Monks, Monks.
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.