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 Uganda and from Tehran.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Madrid and Houston.
I'm losing my edge to the art-school Halifax 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 Can practice in a loft in Cologne.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Inner City to the rock kids.
I played it at Cafe Wha.
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 Tomorrow. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar 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 marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
La Düsseldorf,
Deakin,
Rapeman,
Strawberry Alarm Clock,
Laurel Aitken,
The Seeds,
The Slackers,
Roxette,
Jesper Dahlbäck,
Liaisons Dangereuses,
Gerry Rafferty,
Cal Tjader,
Tubeway Army,
Q and Not U,
Desert Stars,
Idris Muhammad,
Nation of Ulysses,
Vainqueur,
Skaos,
the Slits,
Aloha Tigers,
Nils Olav,
Jawbox,
Gian Franco Pienzio,
The Mojo Men,
Avey Tare,
The Fire Engines,
Ten City,
Davy DMX,
Accadde A,
48th St. Collective,
The J.B.'s,
The Moleskins,
Delta 5,
Kings Of Tomorrow,
Brand Nubian,
Quando Quango,
Sun Ra,
Radio Birdman,
Archie Shepp,
Rahsaan Roland Kirk,
Mission of Burma,
Chrome,
Trumans Water,
Darondo,
Excepter,
Pagans,
Sunsets and Hearts,
Deadbeat,
Siouxsie and the Banshees,
Television Personalities,
X-Ray Spex,
Roger Hodgson,
Cabaret Voltaire,
David McCallum,
Liliput,
Yusef Lateef,
T.S.O.L.,
The Searchers,
Mo-Dettes,
Rekid,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.