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 Kazakhstan and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Halifax 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Davy DMX to the dance kids.
I played it at Cafe Wha.
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 Black Pus. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin 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 chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Los Fastidios,
Severed Heads,
Ituana,
Brass Construction,
Ice-T,
Ash Ra Tempel,
Donald Byrd,
Pulsallama,
Das Ding,
F. McDonald,
Manfred Mann's Earth Band,
Black Sheep,
Chris & Cosey,
The Dave Clark Five,
Oppenheimer Analysis,
Crispian St. Peters,
Hardrive,
June of 44,
Electric Prunes,
London Community Gospel Choir,
Nils Olav,
Unrelated Segments,
Wighnomy Brothers & Robag Wruhme,
Marshall Jefferson,
Infiniti,
Hasil Adkins,
Shoche,
Sly & The Family Stone,
These Immortal Souls,
Vainqueur,
It's A Beautiful Day,
Loose Ends,
Althea and Donna,
Sarah Menescal,
Neil Young & Crazy Horse,
David Bowie,
Alton Ellis,
Scrapy,
The Monks,
The Names,
The Alarm Clocks,
Radio Birdman,
Lower 48,
Echospace,
R.M.O.,
Reuben Wilson,
Sight & Sound,
Captain Beefheart & His Magic Band,
Country Teasers,
Porter Ricks,
Mars,
Rufus Thomas,
De La Soul & Jungle Brothers,
Lizzy Mercier Descloux,
The Cosmic Jokers,
KRS-One,
a-ha,
Sparks,
Warren Ellis,
JFA,
Spandau Ballet,
Judy Mowatt,
The Associates, The Associates, The Associates, The Associates.
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.