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 Liberia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Public Enemy to the disco kids.
I played it at Trash.
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 Intrusion. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a marimba 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Reagan Youth,
Negative Approach,
Bill Near,
Sly & The Family Stone,
Dave Gahan,
Q65,
Fifty Foot Hose,
Skriet,
Joy Division,
Fort Wilson Riot,
The Gladiators,
Amon Düül II,
Delon & Dalcan,
Amon Düül,
Darondo,
Faust,
Ohio Players,
Crispy Ambulance,
Grandmaster Flash,
Arab on Radar,
The Mighty Diamonds,
Stockholm Monsters,
Marmalade,
Audionom,
The Last Poets,
Radio Birdman,
Bobbi Humphrey,
Sun City Girls,
The Fuzztones,
Ronan,
Ludus,
Black Sheep,
Leonard Cohen,
Q and Not U,
Minnie Riperton,
Kango’s Stein Massive,
Rhythim Is Rhythim,
The Seeds,
A Certain Ratio,
Roy Ayers Ubiquity,
Janne Schatter,
Jerry Gold Smith,
The Index,
Larry & the Blue Notes,
Pierre Henry,
Nation of Ulysses,
Curtis Mayfield,
Kool Moe Dee,
London Community Gospel Choir,
Lyres,
The Kinks,
Graham Central Station,
The Associates,
The Invisible,
The Leaves,
Circle Jerks,
Tres Demented,
Lou Reed,
Grandmaster Flash and the Furious Five,
The Cramps,
Echospace,
The Fire Engines,
Cluster,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.