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 Tuvalu and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Eddi Front to the rock kids.
I played it at the Hacienda.
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 Minny Pops. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every John Coltrane 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 '80s.
I hear you're buying a synthesizer 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
The Leaves,
Peter & Gordon,
Joyce Sims,
Johnny Osbourne,
the Germs,
Cymande,
John Cale,
Agent Orange,
Stetsasonic,
Franke,
Trumans Water,
Wings,
Avey Tare's Slasher Flicks,
The Human League,
Susan Cadogan,
Wire,
Tom Boy,
cv313,
Kenny Larkin,
Nils Olav,
Camouflage,
Shuggie Otis,
Public Image Ltd.,
Radiopuhelimet,
Eddi Front,
Theoretical Girls,
Desert Stars,
Accadde A,
Second Layer,
EPMD,
The Trojans,
Negative Approach,
Scratch Acid,
Lindisfarne,
Siglo XX,
F. McDonald,
Drive Like Jehu,
Depeche Mode,
Andrew Hill,
Toni Rubio,
Stockholm Monsters,
The Shadows of Knight,
Albert Ayler,
Alison Limerick,
a-ha,
R.M.O.,
Harry Pussy,
Lucky Dragons,
Vainqueur,
Eyeless In Gaza,
The Associates,
Leonard Cohen,
Gichy Dan,
Spandau Ballet,
Black Moon,
Sly & The Family Stone,
Louis and Bebe Barron,
Hashim,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.