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 Fiji and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City 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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin 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 Sandy B to the funk 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 Sugar Minott. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Tres Demented,
Sun City Girls,
Eli Mardock,
Dawn Penn,
Fat Boys,
FM Einheit,
Simply Red,
Brass Construction,
Andrew Ashong & Theo Parrish,
Lebanon Hanover,
Rekid,
Deakin,
Deadbeat,
The Human League,
Siouxsie and the Banshees,
Supertramp,
In Retrospect,
Black Flag,
Bobby Sherman,
Bang on a Can All-Stars,
Vladislav Delay,
Black Bananas,
Amon Düül II,
Crime,
John Coltrane,
Scion,
Vainqueur,
Agitation Free,
Johnny Clarke,
Chris Corsano,
Gichy Dan,
Laurel Aitken,
Fugazi,
Roxy Music,
Marc Romboy vs. Booka Shade,
The Skatalites,
Howard Jones,
Bluetip,
The Kinks,
Bobby Womack,
The Slackers,
Matthew Bourne,
the Association,
Carl Craig,
Duran Duran,
CMW,
Liaisons Dangereuses,
Liliput,
Scott Walker,
Country Joe & The Fish,
Radiohead,
The Cowsills,
Charles Mingus,
Sarah Menescal,
Pylon,
Eurythmics,
The Standells,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.