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 Bulgaria and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1975.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Jesper Dahlbäck to the techno kids.
I played it at the Troubador.
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 Scan 7. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Quadrant,
Kool G Rap & DJ Polo,
Kenny Larkin,
Throbbing Gristle,
The Monochrome Set,
Dark Day,
New Order,
Pere Ubu,
Crash Course in Science,
Letta Mbulu,
Ohio Players,
Theoretical Girls,
Lou Christie,
Groovy Waters,
ABBA,
Camberwell Now,
Scientists,
The Human League,
Audionom,
Robert Wyatt,
Drexciya,
Dorothy Ashby,
Gichy Dan,
Section 25,
Cybotron,
Symarip,
Gong,
MDC,
Scrapy,
The New Christs,
Prince Buster,
Todd Rundgren,
Slave,
The Pretty Things,
The Busters,
The American Breed,
Joyce Sims,
Faraquet,
The United States of America,
Soul II Soul,
Echo & the Bunnymen,
Ornette Coleman,
Howard Jones,
Country Teasers,
Pussy Galore,
The Cramps,
Ossler,
Zapp,
The Golliwogs,
Silicon Teens,
Josef K,
June of 44,
Cecil Taylor,
Kings Of Tomorrow,
Fifty Foot Hose,
Liaisons Dangereuses,
Peter & Gordon,
Khruangbin,
Main Source,
Ponytail, Ponytail, Ponytail, Ponytail.
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.