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 Bangladesh and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 The Knickerbockers to the grunge 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 The Smoke. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes 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 snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Gun Club,
Louis and Bebe Barron,
The Slackers,
Big Daddy Kane,
Faraquet,
Banda Bassotti,
Hardrive,
Aaron Thompson,
Kas Product,
The United States of America,
Au Pairs,
Scratch Acid,
Joey Negro,
Glenn Branca,
Alison Limerick,
Minor Threat,
Amon Düül,
Echospace,
cv313,
Grauzone,
Peter Gordon & Love of Life Orchestra,
Susan Cadogan,
ABC,
Lou Christie,
Gian Franco Pienzio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
Sight & Sound,
Public Enemy,
Godley & Creme,
Anakelly,
Angels of Light & Akron/Family,
the Swans,
Graham Central Station,
Crispy Ambulance,
Cabaret Voltaire,
Altered Images,
Skriet,
Spoonie Gee,
Hasil Adkins,
Red Lorry Yellow Lorry,
Von Mondo,
Steve Hackett,
Althea and Donna,
the Normal,
The Smoke,
New Age Steppers,
Thee Headcoats,
Ash Ra Tempel,
Khruangbin,
Excepter,
Eric Dolphy,
The Electric Prunes,
Arab on Radar,
Super Lover Cee & Casanova Rud,
Kurtis Blow,
Skaos,
Sun Ra Arkestra,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.