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 Antigua and from Taipei.
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 1961 to 1979.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Jakarta 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 Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Basic Channel to the electroclash kids.
I played it at the Crocodile.
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 Banda Bassotti. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin 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 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
the Association,
The Smiths,
The Mighty Diamonds,
cv313,
Ash Ra Tempel,
The Searchers,
The Invisible,
Stereo Dub,
Lower 48,
Alison Limerick,
Roy Ayers Ubiquity,
PIL,
Joensuu 1685,
The Evens,
Ultimate Spinach,
Scrapy,
MDC,
Notorious Big And Bone Thugs,
Pylon,
Steve Hackett,
Crispy Ambulance,
Marmalade,
Roxette,
Minny Pops,
Rites of Spring,
The Shadows of Knight,
Kerrie Biddell,
Todd Rundgren,
DJ Sneak,
Alphaville,
Selector Dub Narcotic,
The Chocolate Watch Band,
Ludus,
the Swans,
Underground Resistance,
Flipper,
Pantytec,
Joyce Sims,
The Move,
B.T. Express,
Mandrill,
T.S.O.L.,
The Wake,
Jeff Mills,
Marine Girls,
Morten Harket,
The Trojans,
The Motions,
Warsaw,
Nik Kershaw,
MC5,
Quantec,
Visage,
Soul Sonic Force,
Vaughan Mason & Crew,
Soft Cell,
Bauhaus,
Babytalk,
Agitation Free,
Max Romeo,
Louis and Bebe Barron,
Rod Modell,
Japan, Japan, Japan, Japan.
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.