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 United States and from Halifax.
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 1966 to 1976.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Lagos 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 Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Gian Franco Pienzio to the punk 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 The Invisible. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Boredoms 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 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 harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Crime,
Red Lorry Yellow Lorry,
New York Dolls,
Echo & the Bunnymen,
Nirvana,
Gerry Rafferty,
Skaos,
UT,
Deakin,
Urselle,
Can,
Magma,
John Holt,
The Cosmic Jokers,
Kings Of Tomorrow,
Thompson Twins,
Art Ensemble Of Chicago,
Q and Not U,
Johnny Osbourne,
Vaughan Mason & Crew,
Teenage Jesus and the Jerks,
Hashim,
Absolute Body Control,
Scientists,
The Gories,
Donald Byrd,
Henry Cow,
The Gap Band,
Jeru the Damaja,
Scrapy,
The Dave Clark Five,
Kerri Chandler,
Goldenarms,
Public Enemy,
Kauko Röyhkä ja Narttu,
Archie Shepp,
Derrick May,
Derrick Morgan,
Davy DMX,
Dave Gahan,
Marmalade,
Subhumans,
Los Fastidios,
Quantec,
Nick Cave & The Bad Seeds,
Sunsets and Hearts,
The Wake,
The Black Dice,
Notorious Big And Bone Thugs,
Bauhaus,
Guru Guru,
Camouflage,
Alice Coltrane,
The Sound,
Hasil Adkins,
L. Decosne,
48th St. Collective,
DeepChord presents Echospace,
Black Pus,
Susan Cadogan,
The Move,
Pere Ubu,
Harmonia, Harmonia, Harmonia, Harmonia.
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.