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 Senegal and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Paris 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Aswad to the rap kids.
I played it at the Astoria.
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 Cowsills. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and an oboe 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 arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Justin Hinds & The Dominoes,
The Five Americans,
One Last Wish,
Ten City,
Moss Icon,
The Dead C,
Camouflage,
Eli Mardock,
Soul II Soul,
Q and Not U,
Echospace,
Make Up,
A Certain Ratio,
Sonny Sharrock,
Fela Kuti,
The Music Machine,
The Techniques,
The Moody Blues,
The Pretty Things,
Lucky Dragons,
Anakelly,
Nik Kershaw,
Radio Birdman,
X-101,
the Swans,
Eurythmics,
The Fall,
Goldenarms,
Pere Ubu,
Isaac Hayes,
Johnny Clarke,
Röyhkä ja Rättö ja Lehtisalo,
Youth Brigade,
The Names,
The Knickerbockers,
Swell Maps,
Alison Limerick,
Animal Collective,
Sound Behaviour,
Jawbox,
Gabor Szabo,
Mo-Dettes,
Public Image Ltd.,
Donald Byrd,
Malaria!,
Bang On A Can,
Ludus,
Roxette,
Grandmaster Flash,
Robert Hood,
The Happenings,
the Soft Cell,
Bronski Beat,
Matthew Halsall,
Super Lover Cee & Casanova Rud,
Avey Tare's Slasher Flicks,
Rahsaan Roland Kirk,
Pantytec,
DJ Sneak,
Eyeless In Gaza,
X-102,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.