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 Djibouti and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Woodstock 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 clarinet 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 Wasted Youth to the electroclash kids.
I played it at the Troubador.
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 Television. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron 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 record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Masters at Work,
Hoover,
Sound Behaviour,
the Soft Cell,
Heaven 17,
Eric Copeland,
Jacques Brel,
Letta Mbulu,
In Retrospect,
Lightning Bolt,
Buzzcocks,
Section 25,
Liliput,
Donald Byrd,
Bang On A Can,
Man Eating Sloth,
Yusef Lateef,
Japan,
Roxette,
The Happenings,
A Flock of Seagulls,
Robert Görl,
K-Klass,
Funkadelic,
Faraquet,
Flipper,
Fela Kuti,
Reagan Youth,
The Busters,
Warsaw,
Ronan,
Gian Franco Pienzio,
Mantronix,
R.M.O.,
The Chocolate Watch Band,
Rhythm & Sound,
Ossler,
Robert Wyatt,
Amazonics,
Monks,
The Toasters,
Siglo XX,
Rowland S Howard / Lydia Lunch,
Fluxion,
Boz Scaggs,
Barclay James Harvest,
The Human League,
Andrew Hill,
Yellowson,
Ash Ra Tempel,
Sparks,
CMW,
Curtis Mayfield,
Teenage Jesus and the Jerks,
FM Einheit,
The Misunderstood,
The New Christs,
Joey Negro,
Reuben Wilson,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.