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 Cyprus and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Philadelphia 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 Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Ultimate Spinach to the disco kids.
I played it at the Astoria.
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 The Durutti Column. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Danielle Patucci,
Model 500,
Arcadia,
Warsaw,
James Chance & The Contortions,
Warren Ellis,
Ronan,
Mark Hollis,
Bush Tetras,
Au Pairs,
Black Flag,
Grandmaster Flash,
Fela Kuti,
Bobbi Humphrey,
Rotary Connection,
Throbbing Gristle,
Banda Bassotti,
Eurythmics,
Eric Dolphy,
Radio Birdman,
Vladislav Delay,
Boz Scaggs,
Echo & the Bunnymen,
Joyce Sims,
London Community Gospel Choir,
The Fall,
Selector Dub Narcotic,
Roxy Music,
Guru Guru,
The Index,
Sad Lovers and Giants,
Radiohead,
The Mummies,
Vainqueur,
The Knickerbockers,
Oppenheimer Analysis,
Gastr Del Sol,
Lower 48,
Marc Almond,
Cybotron,
Bluetip,
Los Fastidios,
Interpol,
Jerry Gold Smith,
Radiopuhelimet,
Dr. Dre and Snoop Doggy Dog,
Joey Negro,
Public Enemy,
8 Eyed Spy,
Sun Ra,
The Names,
Kings Of Tomorrow,
Bang on a Can All-Stars,
Technova,
The Real Kids,
The Move,
Slave,
Davy DMX,
The Blues Magoos,
Minutemen,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.