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 Macedonia and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Salvador and Jakarta.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Franke to the jazz kids.
I played it at the 40 Watt.
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 Harpers Bizarre. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and an oboe 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 snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Jacob Miller,
Reagan Youth,
The Smiths,
Funkadelic,
Blancmange,
Justin Hinds & The Dominoes,
Bauhaus,
Ornette Coleman,
Eurythmics,
The Seeds,
The Evens,
Wire,
Scientists,
Black Moon,
CMW,
Fela Kuti,
Dave Gahan,
Masters at Work,
Talk Talk,
Black Bananas,
John Holt,
Jacques Brel,
Donny Hathaway,
Crispy Ambulance,
Eric Copeland,
Tears for Fears,
Tropical Tobacco,
Sight & Sound,
Bootsy Collins,
Thompson Twins,
The Index,
the Normal,
Rufus Thomas,
L. Decosne,
Al Stewart,
Darondo,
Electric Prunes,
Johnny Osbourne,
Althea and Donna,
The Misunderstood,
The Dead C,
The Divine Comedy,
Lalann,
Gil Scott Heron,
New Age Steppers,
the Association,
Duran Duran,
Pulsallama,
Silicon Teens,
Dennis Brown,
Parry Music,
Sarah Menescal,
Public Image Ltd.,
Spoonie Gee,
New York Dolls,
Trumans Water,
The Pretty Things,
Theoretical Girls,
Kerri Chandler,
Sexual Harrassment,
Mo-Dettes,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.