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 Ethiopia and from Spokane.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 guitar 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 Bang on a Can All-Stars to the jazz kids.
I played it at CBGB's.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Lungfish,
The Fortunes,
Saccharine Trust,
Amon Düül,
Mars,
The Selecter,
Crime,
Soul II Soul,
Bang on a Can All-Stars,
Gang of Four,
Lightning Bolt,
Kas Product,
The Chocolate Watch Band,
Sight & Sound,
Siouxsie and the Banshees,
Talk Talk,
Maleditus Sound,
Unwound,
The Monochrome Set,
Graham Central Station,
Red Lorry Yellow Lorry,
The J.B.'s,
Eyeless In Gaza,
Con Funk Shun,
Mark Hollis,
Sex Pistols,
Rakim,
Mandrill,
Sound Behaviour,
Clear Light,
Bad Manners,
Main Source,
Ajijia Myrayebe,
Peter and Kerry,
Monolake,
The Beau Brummels,
Underground Resistance,
Bush Tetras,
48th St. Collective,
The Gun Club,
Simply Red,
Spandau Ballet,
Siglo XX,
John Lydon,
The Shadows of Knight,
Richard Hell and the Voidoids,
Rhythm & Sound,
The Buckinghams,
Lizzy Mercier Descloux,
The Gap Band,
Max Romeo,
Alton Ellis,
Dorothy Ashby,
The Moody Blues,
Patti Smith,
Barbara Tucker,
Urselle,
Ultramagnetic MC's,
Tim Buckley,
Bill Near,
Fad Gadget,
Panda Bear,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.