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 Spain and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Glasgow 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 Throbbing Gristle practice in a loft in London.
I was working on the organ 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 The Grass Roots to the funk kids.
I played it at Cafe Wha.
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 May. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every David Bowie 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer 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 snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Khruangbin,
Masters at Work,
Public Image Ltd.,
Gregory Isaacs,
Bush Tetras,
Yazoo,
Rhythim Is Rhythim,
Flamin' Groovies,
Aaron Thompson,
Ornette Coleman,
Kayak,
Pierre Henry,
Roxette,
Freddie Wadling,
The American Breed,
Scientists,
The Residents,
The Cowsills,
Soul Sonic Force,
The Litter,
Lonnie Liston Smith,
L. Decosne,
Wire,
The Selecter,
Visionaries,LMNO, T- Love & Iriscience,
Delon & Dalcan,
Gil Scott Heron,
The Divine Comedy,
The Dave Clark Five,
Mary Jane Girls,
Nation of Ulysses,
Thompson Twins,
Mad Mike,
Echo & the Bunnymen,
Don Cherry,
Average White Band,
Monolake,
Deadbeat,
Harry Pussy,
Cheater Slicks,
Massinfluence,
Bootsy's Rubber Band,
DNA,
Bootsy Collins,
The Moody Blues,
Section 25,
John Coltrane,
Marc Almond,
The West Coast Pop Art Experimental Band,
Matthew Bourne,
Skaos,
Warsaw,
Teenage Jesus and the Jerks,
Maleditus Sound,
10cc,
The Wake,
Tommy Roe,
Make Up,
Television Personalities,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.