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 Nepal and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
I'm losing my edge to the art-school Seoul 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Siouxsie and the Banshees to the rap 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 The Move. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal jazz 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 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 marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
The Men They Couldn't Hang,
Avey Tare & Kría Brekkan,
Ultravox,
Aloha Tigers,
Organ,
Guru Guru,
Kool Moe Dee,
Magazine,
Nas,
Grandmaster Flash,
Soft Machine,
Essential Logic,
Electric Prunes,
Lower 48,
Severed Heads,
Black Moon,
Byron Stingily,
Blake Baxter,
Ponytail,
Gregory Isaacs,
Public Image Ltd.,
Marcia Griffiths,
Justin Hinds & The Dominoes,
Suburban Knight,
Sam Rivers,
Deakin,
Janne Schatter,
In Retrospect,
Darondo,
Kerrie Biddell,
Clear Light,
Faust,
The Detroit Cobras,
Brothers Johnson,
Prince Buster,
The Peanut Butter Conspiracy,
Heavy D & The Boyz,
Unrelated Segments,
Soul Sonic Force,
a-ha,
Harmonia,
Procol Harum,
Supertramp,
Kenny Larkin,
The Searchers,
Toni Rubio,
The Royal Family And The Poor,
Todd Terry,
Fifty Foot Hose,
The Zeros,
Roxy Music,
Cybotron,
June of 44,
Pierre Henry,
Rhythim Is Rhythim,
R.M.O.,
It's A Beautiful Day,
Infiniti,
CMW,
The Gun Club,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. 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.