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 Uruguay and from Cairo.
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 1970.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Cluster to the grunge 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 OOIOO. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every The Litter 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 '90s.
I hear you're buying an arpeggiator and a güiro 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 rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Bauhaus,
Television,
Aaron Thompson,
Massinfluence,
the Germs,
Andrew Hill,
Fela Kuti,
The United States of America,
Sad Lovers and Giants,
Robert Hood,
Jeff Lynne,
Amazonics,
Dark Day,
Erykah Badu,
Royal Trux,
The Smiths,
John Cale,
Index,
The Five Americans,
The Men They Couldn't Hang,
Organ,
Warren Ellis,
Sunsets and Hearts,
Glenn Branca,
Pantaleimon,
Lalo Schifrin,
Subhumans,
Zero Boys,
Brick,
Ituana,
Tom Boy,
Larry & the Blue Notes,
The Monochrome Set,
Delta 5,
Thinking Fellers Union Local 282,
Roger Hodgson,
Gerry Rafferty,
Suburban Knight,
The Blackbyrds,
Radio Birdman,
John Foxx,
Y Pants,
Matthew Halsall,
Graham Central Station,
Fugazi,
The Selecter,
Lindisfarne,
Unwound,
The Techniques,
the Normal,
Spoonie Gee,
The Stooges,
Joyce Sims,
Bizarre Inc.,
The Pretty Things,
Talk Talk,
the Swans,
Eric Dolphy,
Symarip,
Peter & Gordon,
Tres Demented,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.