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 Rwanda and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Lyon.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Siglo XX to the punk kids.
I played it at the Troubador.
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 T. Rex. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Popol Vuh 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin 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 theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Essential Logic,
Sam Rivers,
Fela Kuti,
Ultravox,
Country Teasers,
Adolescents,
Stereo Dub,
Severed Heads,
10cc,
The Chocolate Watch Band,
Bush Tetras,
Jeru the Damaja,
E-Dancer,
Y Pants,
Red Lorry Yellow Lorry,
Subhumans,
Pharaoh Sanders and the Fire Engines,
Charles Mingus,
Accadde A,
Rekid,
The Saints,
The Techniques,
Suicide,
The Standells,
A Flock of Seagulls,
Byron Stingily,
Hasil Adkins,
Tears for Fears,
Cabaret Voltaire,
Black Sheep,
Franke,
Soft Cell,
The Fortunes,
Half Japanese,
Rufus Thomas,
Gang Gang Dance,
D'Angelo,
The Skatalites,
Warren Ellis,
Lonnie Liston Smith,
Isaac Hayes,
Parry Music,
H. Thieme,
Electric Light Orchestra,
Cluster,
Surgeon,
The Electric Prunes,
Urselle,
Brothers Johnson,
the Bar-Kays,
Sixth Finger,
Louis and Bebe Barron,
Amazonics,
Livin' Joy,
These Immortal Souls,
Cybotron,
Carl Craig,
Cameo,
Bizarre Inc.,
Selector Dub Narcotic,
Zapp,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.