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 Bolivia and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Bremen 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Lou Reed & Metallica to the disco kids.
I played it at Trash.
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 Graham Central Station. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a mellotron 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Mantronix,
Juan Atkins,
Scion,
The Wake,
Roger Hodgson,
Accadde A,
Gang Green,
Second Layer,
The Gories,
Art Ensemble Of Chicago,
Reuben Wilson,
Kaleidoscope,
Sexual Harrassment,
Gong,
Swans,
Lebanon Hanover,
Jacques Brel,
Archie Shepp,
La Düsseldorf,
Saccharine Trust,
Neil Young,
Funkadelic,
Q and Not U,
Skriet,
Grey Daturas,
The Men They Couldn't Hang,
Robert Wyatt,
Fort Wilson Riot,
Lungfish,
Technova,
X-102,
Be Bop Deluxe,
Desert Stars,
Nico,
Joyce Sims,
Johnny Clarke,
Au Pairs,
Qualms,
Gary Puckett & The Union Gap,
Little Man,
Soul Sonic Force,
Sex Pistols,
Public Image Ltd.,
the Fania All-Stars,
Fifty Foot Hose,
Jesper Dahlbäck,
Scott Walker,
48th St. Collective,
Isaac Hayes,
Bobby Womack,
Maleditus Sound,
Scrapy,
Lucky Dragons,
The Move,
Black Flag,
Chris & Cosey,
Roy Ayers Ubiquity,
Notorious Big And Bone Thugs,
Wolf Eyes,
Barclay James Harvest,
Yaz, Yaz, Yaz, Yaz.
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.