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 Austria and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Young Marble Giants to the dance kids.
I played it at the 40 Watt.
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 Harry Pussy. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Flesh Eaters,
Whodini,
Peter Gordon & Love of Life Orchestra,
Blossom Toes,
Gil Scott-Heron and Jamie xx,
Gang Starr,
Ajijia Myrayebe,
Donald Byrd,
Lou Christie,
Crash Course in Science,
Dual Sessions,
Oneida,
Darondo,
LL Cool J,
These Immortal Souls,
Lebanon Hanover,
Rhythm & Sound,
Spoonie Gee,
Tubeway Army,
New Age Steppers,
T.S.O.L.,
Ronnie Foster,
Parry Music,
Lakeside,
Blake Baxter,
The Cowsills,
The United States of America,
Von Mondo,
Boogie Down Productions,
The Remains,
Amon Düül II,
Liaisons Dangereuses,
Shuggie Otis,
Y Pants,
DNA,
Sonny Sharrock,
Nick Cave & The Bad Seeds,
Hardrive,
Marshall Jefferson,
Gregory Isaacs,
Be Bop Deluxe,
Fluxion,
Radiohead,
Kurtis Blow,
Symarip,
The Sound,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
Grandmaster Flash and the Furious Five,
Sparks,
Subhumans,
Ultravox,
Soul Sonic Force,
Vladislav Delay,
FM Einheit,
Sexual Harrassment,
Agent Orange,
Grauzone,
Zapp,
Animal Collective,
Inner City,
Bluetip, Bluetip, Bluetip, Bluetip.
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.