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 Serbia and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare 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 Tomorrow to the crunk kids.
I played it at the Astoria.
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 Underground Resistance. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Dave Gahan 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 marimba and an arpeggiator 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 synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Angels of Light & Akron/Family,
La Düsseldorf,
Barclay James Harvest,
Maurizio,
Skriet,
The Remains,
Bronski Beat,
Saccharine Trust,
Mars,
Black Moon,
Can,
Isaac Hayes,
Little Man,
Popol Vuh,
The Toasters,
Lee Hazlewood,
Roxy Music,
Matthew Bourne,
Kool G Rap & DJ Polo,
Soft Machine,
Rufus Thomas,
Pantytec,
Andrew Ashong & Theo Parrish,
Fear,
Japan,
Fatback Band,
The Cowsills,
June Days,
Mission of Burma,
Minny Pops,
Todd Terry,
John Foxx,
Von Mondo,
Marc Romboy vs. Booka Shade,
The Shadows of Knight,
Silicon Teens,
Animal Collective,
Tears for Fears,
Josef K,
Eric B and Rakim,
Arab on Radar,
Mary Jane Girls,
Marvin Gaye,
Unwound,
Talk Talk,
A Certain Ratio,
Negative Approach,
The Slits,
Judy Mowatt,
Gil Scott Heron,
Davy DMX,
The Angels of Light,
Steve Hackett,
The Litter,
Manfred Mann's Earth Band,
Mad Mike,
Cameo,
The Stooges,
Orchestral Manoeuvres in the Dark,
Malaria!,
Amon Düül II,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.