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 Moldova and from Shanghai.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet 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 Sexual Harrassment 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 New Order. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar 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 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
New York Dolls,
Suicide,
Jawbox,
World's Most,
Malaria!,
Pere Ubu,
Model 500,
The Trojans,
Avey Tare & Kría Brekkan,
Dead Boys,
New Age Steppers,
Glambeats Corp.,
Pharaoh Sanders and the Fire Engines,
Gregory Isaacs,
Swell Maps,
Faraquet,
Japan,
The Velvet Underground,
Roxy Music,
Jimmy McGriff,
Zero Boys,
Kool Moe Dee,
Peter Gordon & Love of Life Orchestra,
Accadde A,
Roxette,
Art Ensemble Of Chicago,
Alice Coltrane,
Visionaries,LMNO, T- Love & Iriscience,
Deakin,
Lungfish,
Qualms,
Index,
Stetsasonic,
The Names,
Public Image Ltd.,
the Soft Cell,
John Foxx,
Fad Gadget,
Kurtis Blow,
Rekid,
Sandy B,
Grandmaster Flash,
Red Lorry Yellow Lorry,
Eric B and Rakim,
The Moody Blues,
The Mummies,
The Jesus and Mary Chain,
Goldenarms,
Sight & Sound,
Andrew Ashong & Theo Parrish,
The Slackers,
Rosa Yemen,
Ken Boothe,
The Move,
Agent Orange,
The Martian,
Matthew Halsall,
Motorama,
Amon Düül,
Mantronix, Mantronix, Mantronix, Mantronix.
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.