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 Equatorial Guinea and from Calgary.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Cairo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Eve St. Jones 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 Ken Boothe. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a spring reverb 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 güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Lou Reed & John Cale,
Lakeside,
Bootsy Collins,
Kas Product,
Beasts of Bourbon,
Black Sheep,
Hashim,
Hoover,
Tom Boy,
Chris & Cosey,
Sun City Girls,
The Neon Judgement,
Byron Stingily,
Bobby Hutcherson,
Ajijia Myrayebe,
The Gap Band,
Erasure,
MDC,
Lee Hazlewood,
The Motions,
Mantronix,
Fatback Band,
The Slits,
Mission of Burma,
Gil Scott-Heron and Jamie xx,
Kango’s Stein Massive,
Panda Bear,
Infiniti,
Soul Sonic Force,
Delon & Dalcan,
The Misunderstood,
Crash Course in Science,
The Barracudas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oblivians,
Chrome,
Faraquet,
The Velvet Underground,
Sight & Sound,
Gang Green,
Wire,
The Invisible,
Hardrive,
Index,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Cal Tjader,
Derrick Morgan,
Wasted Youth,
Siouxsie and the Banshees,
Laurel Aitken,
The Pop Group,
Average White Band,
Alice Coltrane,
Mr. Review,
Parry Music,
Lyres,
Nico,
Radio Birdman,
Colin Newman,
Gang Gang Dance,
The Mojo Men,
Kings Of Tomorrow,
X-101, X-101, X-101, X-101.
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.