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 Mauritania and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Mexico City and New York.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Erasure to the rock kids.
I played it at the Roxy.
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 Bobby Byrd. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Ornette Coleman 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Niagra,
Interpol,
Connie Case,
T. Rex,
Minutemen,
LL Cool J,
Organ,
The Real Kids,
Symarip,
Gary Puckett & The Union Gap,
Eric Copeland,
These Immortal Souls,
the Association,
AZ,
Rahsaan Roland Kirk,
Zapp,
Fort Wilson Riot,
Bauhaus,
Arcadia,
Saccharine Trust,
Mary Jane Girls,
Arab on Radar,
Bronski Beat,
Pharaoh Sanders and the Fire Engines,
Audionom,
Nik Kershaw,
The Saints,
The United States of America,
Eric B and Rakim,
Sexual Harrassment,
Maurizio,
Hashim,
Louis and Bebe Barron,
Y Pants,
Soulsonic Force,
Wire,
Swans,
D'Angelo,
Magma,
Ossler,
Basic Channel,
Ajijia Myrayebe,
Wings,
Jesper Dahlbäck,
Flamin' Groovies,
kango's stein massive,
The J.B.'s,
Kas Product,
Harmonia,
Jimmy McGriff,
Brick,
The Sonics,
MDC,
James Chance & The Contortions,
Alice Coltrane,
Bobbi Humphrey,
Laurel Aitken,
Quadrant,
The Residents,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.