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 Moldova and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 Jerry Gold Smith to the disco 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 Nirvana. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a guitar 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Captain Beefheart & His Magic Band,
The Electric Prunes,
48th St. Collective,
Basic Channel,
The Slackers,
Marc Romboy vs. Booka Shade,
Grandmaster Flash and the Furious Five,
Roy Ayers Ubiquity,
Mission of Burma,
Johnny Clarke,
Archie Shepp,
Yusef Lateef,
Reuben Wilson,
Hashim,
Brass Construction,
The Fuzztones,
Aswad,
The Slits,
Pete Rock & C.L. Smooth,
Public Image Ltd.,
Andrew Ashong & Theo Parrish,
Black Flag,
The Jesus and Mary Chain,
Boogie Down Productions,
Arthur Verocai,
Theoretical Girls,
Gil Scott-Heron & Brian Jackson,
Beasts of Bourbon,
The Gories,
Hoover,
Guru Guru,
Nas,
The Mojo Men,
Barrington Levy,
UT,
The Monks,
The Gap Band,
New York Dolls,
Surgeon,
The American Breed,
Gabor Szabo,
Tears for Fears,
The Monochrome Set,
Symarip,
Sarah Menescal,
Marc Almond,
Kauko Röyhkä ja Narttu,
Goldenarms,
Althea and Donna,
Banda Bassotti,
Siouxsie and the Banshees,
Lou Reed & John Cale,
The Fortunes,
Camouflage,
Lalo Schifrin,
Q and Not U,
D'Angelo,
Ronan,
Ultravox,
Audionom,
Mr. Review,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.