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 Tokyo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1977.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Edmonton 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar 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 Leonard Cohen to the rock kids.
I played it at the Roxy.
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 Boogie Down Productions. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum 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 theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Accadde A,
Scientists,
Soul II Soul,
Sunsets and Hearts,
Minny Pops,
A Certain Ratio,
Echospace,
Stetsasonic,
Mantronix,
Bobby Hutcherson,
Roy Ayers,
Louis and Bebe Barron,
Cabaret Voltaire,
Jesper Dahlbäck,
Piero Umiliani,
Silicon Teens,
The Blackbyrds,
Nils Olav,
Dual Sessions,
The United States of America,
Ralphi Rosario,
Public Image Ltd.,
the Sonics,
Mr. Review,
Ash Ra Tempel,
The Sound,
Cal Tjader,
The Neon Judgement,
Althea and Donna,
The Alarm Clocks,
Johnny Clarke,
Kas Product,
Matthew Bourne,
the Fania All-Stars,
The Pop Group,
Absolute Body Control,
Larry & the Blue Notes,
Strawberry Alarm Clock,
FM Einheit,
Fluxion,
Wolf Eyes,
One Last Wish,
DJ Style,
Tubeway Army,
Graham Central Station,
Lou Reed & John Cale,
Eric Copeland,
Robert Görl,
Barbara Tucker,
Gary Puckett & The Union Gap,
Audionom,
The Barracudas,
Sly & The Family Stone,
Lower 48,
Lou Reed,
Wally Richardson,
Cecil Taylor,
The Fire Engines,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.