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 Suriname and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Freddie Wadling to the electroclash kids.
I played it at CBGB's.
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 Nils Olav. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
LL Cool J,
Lyres,
China Crisis,
Patti Smith,
Bluetip,
Camberwell Now,
Black Moon,
The New Christs,
Fugazi,
Das Ding,
Joe Smooth,
Kurtis Blow,
Big Daddy Kane,
Piero Umiliani,
Main Source,
Second Layer,
Fifty Foot Hose,
Shuggie Otis,
K-Klass,
The Tremeloes,
The Invisible,
Derrick Morgan,
Marvin Gaye,
T.S.O.L.,
Masters at Work,
UT,
the Sonics,
Suicide,
Wighnomy Brothers & Robag Wruhme,
Amon Düül,
Pagans,
The Moleskins,
David McCallum,
James Chance & The Contortions,
kango's stein massive,
Lizzy Mercier Descloux,
Marc Almond,
Sam Rivers,
Vladislav Delay,
Groovy Waters,
The Index,
The Flesh Eaters,
Terry Callier,
The Remains,
The Music Machine,
Byron Stingily,
Janne Schatter,
Ultimate Spinach,
Absolute Body Control,
Johnny Clarke,
Arcadia,
Pharaoh Sanders and the Fire Engines,
Lucky Dragons,
Cheater Slicks,
Sun Ra,
The Stooges,
Isaac Hayes,
DJ Style,
Quantec,
Bob Dylan,
The Wake,
Chrome,
The Trojans,
The American Breed, The American Breed, The American Breed, The American Breed.
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.