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 Grenada and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1974.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Taipei 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Judy Mowatt to the rock 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 The Divine Comedy. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
DJ Sneak,
Harry Pussy,
Circle Jerks,
The Flesh Eaters,
Lebanon Hanover,
Soul II Soul,
Mars,
Ossler,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
Bootsy's Rubber Band,
Cheater Slicks,
Notorious Big And Bone Thugs,
Supertramp,
Ohio Players,
Minor Threat,
Siglo XX,
Soft Cell,
Echospace,
The Durutti Column,
David McCallum,
Steve Hackett,
Jandek,
Rhythim Is Rhythim,
Grandmaster Flash and the Furious Five,
Selector Dub Narcotic,
The American Breed,
Yazoo,
This Heat,
Sound Behaviour,
Kool G Rap & DJ Polo,
Stiv Bators,
The Dave Clark Five,
The Knickerbockers,
The Zeros,
David Bowie,
Godley & Creme,
Barrington Levy,
Joe Finger,
Fluxion,
Gil Scott-Heron & Brian Jackson,
Cal Tjader,
Man Parrish,
Infiniti,
Vainqueur,
Pierre Henry,
Louis and Bebe Barron,
Teenage Jesus and the Jerks,
The Golliwogs,
Thee Headcoats,
Rekid,
Justin Hinds & The Dominoes,
Visionaries,LMNO, T- Love & Iriscience,
Alice Coltrane,
Strawberry Alarm Clock,
Public Image Ltd.,
Whodini,
Albert Ayler,
Amazonics,
Arcadia,
X-102, X-102, X-102, X-102.
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.