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 Australia and from Beijing.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Columbus 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 Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Soulsonic Force to the funk 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 The Monks. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum 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 arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Ajijia Myrayebe,
Judy Mowatt,
Peter Gordon & Love of Life Orchestra,
Faust,
Warsaw,
Youth Brigade,
Super Lover Cee & Casanova Rud,
CMW,
Joensuu 1685,
Jandek,
Dorothy Ashby,
James Chance & The Contortions,
Bluetip,
The Sound,
The Buckinghams,
Lucky Dragons,
The Standells,
Marc Romboy vs. Booka Shade,
Man Parrish,
Louis and Bebe Barron,
Dawn Penn,
Flash Fearless,
the Germs,
Crash Course in Science,
Sexual Harrassment,
The Toasters,
Flamin' Groovies,
New York Dolls,
Ornette Coleman,
The American Breed,
Sly & The Family Stone,
Kaleidoscope,
Ultravox,
Sugar Minott,
Tommy Roe,
Qualms,
Siouxsie and the Banshees,
Japan,
Rotary Connection,
Frankie Knuckles,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Mo-Dettes,
Avey Tare,
Todd Rundgren,
Avey Tare's Slasher Flicks,
Moebius,
The Durutti Column,
Gang Gang Dance,
The Slackers,
The Dave Clark Five,
Isaac Hayes,
Barbara Tucker,
The Doobie Brothers,
Negative Approach,
Leonard Cohen,
Sonic Youth,
Sandy B,
Simply Red,
Neu!,
Gichy Dan,
Camouflage,
The Black Dice,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.