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 Colombia and from Edmonton.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Thinking Fellers Union Local 282 to the dance 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 Derrick Morgan. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal grunge 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 arpeggiator and an oboe 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
The Count Five,
LL Cool J,
Gil Scott Heron,
Index,
The Flesh Eaters,
X-102,
JFA,
Henry Cow,
DJ Sneak,
The Star Department,
Tubeway Army,
Dark Day,
Dawn Penn,
Pole,
Marmalade,
D'Angelo,
Nirvana,
Guru Guru,
Magazine,
Goldenarms,
Nick Fraelich,
Underground Resistance,
Max Romeo,
Dead Boys,
Funky Four + One,
Television,
Stereo Dub,
Make Up,
Ken Boothe,
David McCallum,
Michelle Simonal,
Youth Brigade,
Nico,
Neil Young,
Reuben Wilson,
Grey Daturas,
Monolake,
Dual Sessions,
The Music Machine,
Circle Jerks,
Roger Hodgson,
Big Daddy Kane,
Sun Ra Arkestra,
Pulsallama,
Ultramagnetic MC's,
Khruangbin,
Manfred Mann's Earth Band,
Lucky Dragons,
DJ Style,
Scratch Acid,
Agitation Free,
Bauhaus,
Louis and Bebe Barron,
Half Japanese,
Bob Dylan,
Lightning Bolt,
Camouflage,
Deutsch Amerikanische Freundschaft,
Cabaret Voltaire,
Orchestral Manoeuvres in the Dark,
Malaria!,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.