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 Azerbaijan and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Portland and Mexico City.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Can to the disco kids.
I played it at the 40 Watt.
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 Derrick Morgan. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar 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 mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
The Blackbyrds,
Barclay James Harvest,
Sam Rivers,
De La Soul & Jungle Brothers,
Cecil Taylor,
The New Christs,
The Human League,
the Slits,
The West Coast Pop Art Experimental Band,
Curtis Mayfield,
Lungfish,
Suicide,
Eli Mardock,
Ludus,
MDC,
Skriet,
Rakim,
Matthew Halsall,
B.T. Express,
World's Most,
The Trojans,
the Swans,
Eric Copeland,
Eric Dolphy,
Ice-T,
cv313,
Cybotron,
Pantytec,
Crime,
Pere Ubu,
Siglo XX,
The Flesh Eaters,
Panda Bear,
Zapp,
Captain Beefheart & His Magic Band,
Sly & The Family Stone,
Sad Lovers and Giants,
The Moody Blues,
James Chance & The Contortions,
Vaughan Mason & Crew,
The Monochrome Set,
Liliput,
Marine Girls,
Colin Newman,
The Chocolate Watch Band,
Desert Stars,
Public Image Ltd.,
Michelle Simonal,
Harpers Bizarre,
the Human League,
The Gories,
Ultimate Spinach,
Interpol,
Jesper Dahlbäck,
Dual Sessions,
Laurel Aitken,
Dark Day,
Thinking Fellers Union Local 282,
Angry Samoans,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.