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 the UAE and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Toronto 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 mellotron 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 Dead Boys to the jazz kids.
I played it at CBGB's.
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 Bauhaus. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Bill Wells 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin 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 guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Nik Kershaw,
Public Enemy,
Slick Rick,
Arab on Radar,
Wally Richardson,
Archie Shepp,
Lou Reed & John Cale,
Tears for Fears,
X-Ray Spex,
Mr. Review,
The Cure,
Al Stewart,
Ituana,
Magma,
China Crisis,
Outsiders,
Terry Callier,
New Order,
Josef K,
Roxette,
Crooked Eye,
Eve St. Jones,
Jimmy McGriff,
Rekid,
Minny Pops,
Albert Ayler,
The Sound,
Fad Gadget,
Yellowson,
Niagra,
Gian Franco Pienzio,
The Vogues,
Fugazi,
Quantec,
Flash Fearless,
Ornette Coleman,
Vladislav Delay,
Alison Limerick,
Soul Sonic Force,
Johnny Clarke,
Yusef Lateef,
Sad Lovers and Giants,
Shuggie Otis,
Rakim,
Thinking Fellers Union Local 282,
June of 44,
Hoover,
The Human League,
the Germs,
Crispy Ambulance,
Laurel Aitken,
The Velvet Underground,
New Age Steppers,
Y Pants,
Mandrill,
Zero Boys,
Panda Bear,
Donny Hathaway,
Saccharine Trust,
Marcia Griffiths,
Parry Music,
Stiv Bators,
EPMD,
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.