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 Somalia and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Ultra Naté to the dance 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 Sunsets and Hearts. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Soft Cell,
Sly & The Family Stone,
Prince Buster,
the Slits,
Camberwell Now,
Mantronix,
Quantec,
Patti Smith,
Hasil Adkins,
Metal Thangz,
Slick Rick,
Dorothy Ashby,
The Mighty Diamonds,
Minny Pops,
Scott Walker,
Graham Central Station,
a-ha,
Danielle Patucci,
Archie Shepp,
Electric Prunes,
CMW,
Au Pairs,
The Happenings,
Gang of Four,
Lalann,
Animal Collective,
Sad Lovers and Giants,
Surgeon,
The Buckinghams,
Beasts of Bourbon,
the Human League,
Masters at Work,
MDC,
Monks,
Parry Music,
Avey Tare's Slasher Flicks,
Barbara Tucker,
Intrusion,
Pussy Galore,
Porter Ricks,
Blancmange,
T. Rex,
Faust,
Bad Manners,
Sun Ra,
Strawberry Alarm Clock,
The Searchers,
H. Thieme,
The Leaves,
The Dave Clark Five,
Pantaleimon,
Shoche,
Aaron Thompson,
Boz Scaggs,
Major Organ And The Adding Machine,
Roxy Music,
The Names,
Joyce Sims,
The Skatalites,
Kauko Röyhkä ja Narttu,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.