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 Iran and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Litter to the grunge kids.
I played it at the Crocodile.
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 Monks. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Los Fastidios,
Ituana,
Lindisfarne,
Delon & Dalcan,
Oblivians,
Schoolly D,
Prince Buster,
Liliput,
The Toasters,
Brick,
Camberwell Now,
The Divine Comedy,
Pantaleimon,
Suburban Knight,
The American Breed,
Lizzy Mercier Descloux,
Yusef Lateef,
Andrew Hill,
Bob Dylan,
DNA,
Lower 48,
Jeru the Damaja,
The Human League,
The Names,
Loose Ends,
Wally Richardson,
The Men They Couldn't Hang,
Public Enemy,
Carl Craig,
Soft Cell,
Rites of Spring,
Darondo,
Gang Green,
the Sonics,
Leonard Cohen,
Guru Guru,
Laurel Aitken,
Al Stewart,
The Knickerbockers,
Shoche,
Joy Division,
Khruangbin,
The Young Rascals,
Soulsonic Force,
Eden Ahbez,
Johnny Clarke,
The Martian,
Peter & Gordon,
Nick Cave & The Bad Seeds,
Ken Boothe,
Jandek,
Depeche Mode,
The Shadows of Knight,
Letta Mbulu,
The Monks,
Morten Harket,
Lou Reed,
The Mummies,
The West Coast Pop Art Experimental Band,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.