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 Comoros and from Tehran.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Portland 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 sitar 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 ABC to the grunge 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 Byron Stingily. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal rock 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 a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Oppenheimer Analysis,
Dave Gahan,
Marvin Gaye,
Quadrant,
The Electric Prunes,
Bad Manners,
Jeff Lynne,
Agent Orange,
Kerrie Biddell,
Tears for Fears,
Radiohead,
The Music Machine,
Crash Course in Science,
Laurel Aitken,
Beasts of Bourbon,
Make Up,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Fifty Foot Hose,
Glambeats Corp.,
Soft Cell,
Grauzone,
MDC,
Spoonie Gee,
Television,
the Normal,
Robert Hood,
ABC,
Country Joe & The Fish,
Moebius,
Arthur Verocai,
Jerry Gold Smith,
Sad Lovers and Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
Donny Hathaway,
Porter Ricks,
Adolescents,
Marmalade,
Trumans Water,
Soulsonic Force,
It's A Beautiful Day,
The Pretty Things,
Jawbox,
Gang Green,
Lungfish,
Theoretical Girls,
The Beau Brummels,
Tommy Roe,
Gil Scott-Heron and Jamie xx,
Brand Nubian,
Boogie Down Productions,
Strawberry Alarm Clock,
Vladislav Delay,
Crispy Ambulance,
The Star Department,
Lou Christie,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.