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 Peru and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Stockholm and Tokyo.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Kings Of Tomorrow to the techno kids.
I played it at the Roxy.
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 Kurtis Blow. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Slave 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar 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 rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Deutsch Amerikanische Freundschaft,
Janne Schatter,
Aaron Thompson,
The Litter,
Bootsy's Rubber Band,
Iggy Pop,
The Techniques,
Glenn Branca,
Jerry's Kids,
The Sonics,
These Immortal Souls,
Black Moon,
Pete Rock & C.L. Smooth,
Oneida,
Agent Orange,
Dark Day,
Jimmy McGriff,
K-Klass,
Captain Beefheart & His Magic Band,
Nico,
Parry Music,
Eurythmics,
Juan Atkins,
Jesper Dahlbäck,
Infiniti,
Laurel Aitken,
New Age Steppers,
Bobby Womack,
Andrew Ashong & Theo Parrish,
Soft Cell,
Crash Course in Science,
Robert Wyatt,
Sly & The Family Stone,
Faust,
Young Marble Giants,
Scrapy,
Alphaville,
Niagra,
Dorothy Ashby,
Rahsaan Roland Kirk,
Lou Reed,
The Sound,
Vladislav Delay,
MDC,
Chrome,
Gil Scott-Heron & Brian Jackson,
Masters at Work,
R.M.O.,
James Chance & The Contortions,
Fort Wilson Riot,
Lucky Dragons,
UT,
Fatback Band,
Subhumans,
Ultra Naté,
Lightning Bolt,
Electric Light Orchestra,
Louis and Bebe Barron,
Mad Mike,
Vaughan Mason & Crew,
Kool Moe Dee,
Symarip,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.