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 Kenya and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Lyon 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Curtis Mayfield to the punk 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 Scratch Acid. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and an oboe 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 theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
The Divine Comedy,
Newcleus,
Skarface,
Mark Hollis,
A Certain Ratio,
Amazonics,
Eyeless In Gaza,
John Coltrane,
Rapeman,
Gil Scott Heron,
Pulsallama,
Ultramagnetic MC's,
The Pop Group,
Joe Finger,
Livin' Joy,
Gichy Dan,
Scott Walker + Sunn O))),
Jesper Dahlbäck,
Laurel Aitken,
ABC,
Quantec,
the Bar-Kays,
Swans,
The American Breed,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobbi Humphrey,
Accadde A,
The Alarm Clocks,
Mary Jane Girls,
Make Up,
Moss Icon,
Peter & Gordon,
The Fuzztones,
Zero Boys,
It's A Beautiful Day,
Jeff Lynne,
Grandmaster Flash,
The Buckinghams,
Audionom,
Loose Ends,
Excepter,
Aswad,
Soulsonic Force,
Rhythm & Sound,
Graham Central Station,
the Slits,
The Grass Roots,
Connie Case,
Dawn Penn,
Japan,
Schoolly D,
The United States of America,
New Age Steppers,
Chris & Cosey,
Justin Hinds & The Dominoes,
the Normal,
Khruangbin,
the Soft Cell,
Moby Grape,
London Community Gospel Choir,
Man Eating Sloth,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.