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 East Timor and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 the Swans to the electroclash 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 Vladislav Delay. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Negative Approach 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 '70s.
I hear you're buying a snare and an organ 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Roger Hodgson,
Nas,
Frankie Knuckles,
Sly & The Family Stone,
Aswad,
Wings,
Dennis Brown,
Amazonics,
Gil Scott-Heron & Brian Jackson,
DNA,
Thee Headcoats,
The Fire Engines,
the Fania All-Stars,
Quantec,
Skriet,
The Jesus and Mary Chain,
Wolf Eyes,
The Men They Couldn't Hang,
The Zeros,
Glenn Branca,
ABC,
The Modern Lovers,
Soulsonic Force,
Negative Approach,
Rakim,
Gary Puckett & The Union Gap,
Soul Sonic Force,
Jerry's Kids,
Al Stewart,
Gichy Dan,
Marmalade,
Minutemen,
Eli Mardock,
Scion,
Art Ensemble Of Chicago,
Selector Dub Narcotic,
Hasil Adkins,
Gil Scott Heron,
Kayak,
Neil Young & Crazy Horse,
Malaria!,
ABBA,
Godley & Creme,
The Fall,
Black Bananas,
The Peanut Butter Conspiracy,
Bill Near,
Khruangbin,
The Black Dice,
The Vogues,
Gang Starr,
Deutsch Amerikanische Freundschaft,
Lizzy Mercier Descloux,
A Flock of Seagulls,
The Gun Club,
Simply Red,
Tom Boy,
Lou Christie,
Mary Jane Girls,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.