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 Uruguay and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Philadelphia 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb 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 David Axelrod to the funk kids.
I played it at the Hacienda.
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 Glambeats Corp.. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The Fall 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron 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 marimba.
I hear that you and your band have sold your marimba 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?
David Axelrod,
Saccharine Trust,
Sly & The Family Stone,
The American Breed,
Mr. Review,
Barbara Tucker,
Model 500,
Delta 5,
Barry Ungar,
Rhythim Is Rhythim,
Ronnie Foster,
The Trojans,
Rahsaan Roland Kirk,
Ten City,
Ultimate Spinach,
China Crisis,
Teenage Jesus and the Jerks,
Lyres,
The Kinks,
Faraquet,
Ludus,
Electric Light Orchestra,
Selector Dub Narcotic,
Gil Scott-Heron & Brian Jackson,
8 Eyed Spy,
Funkadelic,
Deakin,
the Germs,
Marshall Jefferson,
Pulsallama,
Ponytail,
Sound Behaviour,
Vainqueur,
Harpers Bizarre,
Mad Mike,
Outsiders,
The Cowsills,
Curtis Mayfield,
Avey Tare's Slasher Flicks,
Faust,
Nils Olav,
The Fortunes,
The Alarm Clocks,
Television Personalities,
Lightning Bolt,
Unwound,
The Angels of Light,
Nation of Ulysses,
Excepter,
Clear Light,
Bootsy's Rubber Band,
Au Pairs,
ABC,
Dead Boys,
It's A Beautiful Day,
Visage,
Franke,
Junior Murvin,
The Young Rascals,
Minutemen,
Sight & Sound,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.