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 Dominican Republic and from Tehran.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Calgary.
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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 Barry Ungar to the dance 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 Sad Lovers and Giants. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb 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 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?
Susan Cadogan,
T. Rex,
DNA,
Anthony Braxton,
Jeff Mills,
David McCallum,
Pharoah Sanders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Saccharine Trust,
Cluster,
The Skatalites,
L. Decosne,
The Searchers,
The Alarm Clocks,
Lou Reed & Metallica,
Negative Approach,
Steve Hackett,
Rekid,
Isaac Hayes,
Lizzy Mercier Descloux,
Don Cherry,
Fad Gadget,
Ituana,
Funkadelic,
Donny Hathaway,
The Monks,
Gastr Del Sol,
Kauko Röyhkä ja Narttu,
The Seeds,
The Gladiators,
Motorama,
Terrestrial Tones,
Barbara Tucker,
Lightning Bolt,
Au Pairs,
Boogie Down Productions,
The Martian,
Eric Dolphy,
Pere Ubu,
The Last Poets,
The Smoke,
Blancmange,
F. McDonald,
Blossom Toes,
Peter Gordon & Love of Life Orchestra,
Jesper Dahlback,
The Star Department,
Drive Like Jehu,
Idris Muhammad,
Inner City,
Icehouse,
Radiohead,
Soulsonic Force,
The Wake,
Quando Quango,
The Detroit Cobras,
Roxette,
Black Pus,
Toni Rubio,
The Durutti Column,
Black Flag,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.