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 Bulgaria and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school New York 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro 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 Gregory Isaacs to the electroclash kids.
I played it at the Spitz.
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 Bang On A Can. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
OOIOO,
ABBA,
The Techniques,
Kayak,
Flash Fearless,
London Community Gospel Choir,
Trumans Water,
Oneida,
Peter Gordon & Love of Life Orchestra,
Pharaoh Sanders and the Fire Engines,
Quantec,
Arab on Radar,
Eric Copeland,
Sight & Sound,
Johnny Clarke,
The Residents,
Harpers Bizarre,
Q and Not U,
The Trojans,
The Gories,
The Moody Blues,
Country Teasers,
The Red Krayola,
Peter & Gordon,
Technova,
Magma,
Bauhaus,
Neil Young,
Sad Lovers and Giants,
Cymande,
Echospace,
A Flock of Seagulls,
Black Sheep,
Todd Rundgren,
Henry Cow,
Roy Ayers Ubiquity,
The Index,
The Sisters of Mercy,
Simply Red,
Bronski Beat,
Ralphi Rosario,
The Moleskins,
Yusef Lateef,
Drive Like Jehu,
Basic Channel,
Dead Boys,
The Martian,
Gil Scott-Heron & Brian Jackson,
Eddi Front,
the Fania All-Stars,
Severed Heads,
Rakim,
Sly & The Family Stone,
Juan Atkins,
Skriet,
Deadbeat,
Ultravox,
Rotary Connection,
Deepchord,
Lebanon Hanover,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.