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 Kosovo and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Rufus Thomas to the disco kids.
I played it at the Troubador.
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 Reagan Youth. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin 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?
Guru Guru,
Monolake,
Jacques Brel,
Fifty Foot Hose,
The Neon Judgement,
Judy Mowatt,
Captain Beefheart & His Magic Band,
Alphaville,
Bobbi Humphrey,
Bill Near,
Boredoms,
Niagra,
Wire,
Sunsets and Hearts,
Harpers Bizarre,
The Pretty Things,
Radiohead,
Basic Channel,
Man Eating Sloth,
the Soft Cell,
The Alarm Clocks,
Tres Demented,
De La Soul & Jungle Brothers,
New Order,
Ronnie Foster,
The Fire Engines,
The Kinks,
Fatback Band,
The Men They Couldn't Hang,
Siouxsie and the Banshees,
John Lydon,
The Beau Brummels,
Average White Band,
Spandau Ballet,
Eurythmics,
Mary Jane Girls,
Gabor Szabo,
Rotary Connection,
OOIOO,
A Flock of Seagulls,
The Cure,
the Germs,
Von Mondo,
Negative Approach,
Chris & Cosey,
Alice Coltrane,
Japan,
Eddi Front,
Joyce Sims,
B.T. Express,
A Certain Ratio,
Los Fastidios,
Pole,
Marcia Griffiths,
The Standells,
Lafayette Afro Rock Band,
Grey Daturas,
Quadrant,
Andrew Hill,
Liliput,
Aaron Thompson,
Cameo,
Dorothy Ashby,
Fear, Fear, Fear, Fear.
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.