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 Paraguay and from Beijing.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 LL Cool J to the jazz 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 Gang Gang Dance. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba 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 theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Stiv Bators,
Lalo Schifrin,
Art Ensemble Of Chicago,
Thee Headcoats,
Procol Harum,
the Swans,
Warsaw,
Red Lorry Yellow Lorry,
La Düsseldorf,
Todd Terry,
Urselle,
MC5,
The Litter,
Dawn Penn,
Radiopuhelimet,
The Motions,
Model 500,
Masters at Work,
Lou Reed & Metallica,
These Immortal Souls,
Ken Boothe,
Nas,
The Cowsills,
Joyce Sims,
Chris & Cosey,
The New Christs,
Crispy Ambulance,
The Grass Roots,
Public Image Ltd.,
Funkadelic,
Quadrant,
Gabor Szabo,
Lucky Dragons,
The Searchers,
Manfred Mann's Earth Band,
The Black Dice,
Sonic Youth,
Monolake,
The Fire Engines,
De La Soul & Jungle Brothers,
Sound Behaviour,
New York Dolls,
Jeff Lynne,
Jeru the Damaja,
Malaria!,
The Human League,
Beasts of Bourbon,
Eurythmics,
John Holt,
Audionom,
Kerrie Biddell,
Barrington Levy,
Robert Wyatt,
Barry Ungar,
Adolescents,
Alice Coltrane,
China Crisis,
Electric Prunes,
Orchestral Manoeuvres in the Dark,
Guru Guru,
Qualms,
The Toasters, The Toasters, The Toasters, The Toasters.
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.