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 Latvia and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 James White and The Blacks to the electroclash kids.
I played it at the 40 Watt.
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 It's A Beautiful Day. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal crunk 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 an organ 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 sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
The Smoke,
Cameo,
Tomorrow,
Mr. Review,
Rowland S Howard / Lydia Lunch,
Terrestrial Tones,
Shoche,
Schoolly D,
Big Daddy Kane,
Porter Ricks,
Connie Case,
Deutsch Amerikanische Freundschaft,
Notorious BIG live in Amsterdam,
Urselle,
The Misunderstood,
The Velvet Underground,
Depeche Mode,
Scott Walker + Sunn O))),
Peter and Kerry,
Notorious Big And Bone Thugs,
La Düsseldorf,
48th St. Collective,
The Alarm Clocks,
Andrew Ashong & Theo Parrish,
Blancmange,
Anthony Braxton,
Camberwell Now,
Inner City,
Scan 7,
June Days,
Eric Dolphy,
CMW,
JFA,
The Count Five,
Jerry's Kids,
Terror Squad Feat. Camron,
The Pretty Things,
These Immortal Souls,
Gabor Szabo,
Dark Day,
New York Dolls,
Max Romeo,
Tropical Tobacco,
Marine Girls,
Ultramagnetic MC's,
Little Man,
Lyres,
Man Parrish,
Sun Ra Arkestra,
Peter & Gordon,
Kauko Röyhkä ja Narttu,
Bronski Beat,
Gil Scott-Heron and Jamie xx,
X-101,
Roger Hodgson,
Robert Hood,
Althea and Donna,
The Seeds,
T.S.O.L.,
Grandmaster Flash and the Furious Five,
The American Breed,
Cheater Slicks,
Absolute Body Control,
Audionom, Audionom, Audionom, Audionom.
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.