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 Sri Lanka and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Juan Atkins to the grunge kids.
I played it at the Spitz.
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 Black Pus. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator 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 linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Ice-T,
Stereo Dub,
Easy Going,
Agent Orange,
Jandek,
Depeche Mode,
The Sisters of Mercy,
Absolute Body Control,
Magazine,
The Pop Group,
Mark Hollis,
The Fugs,
Janne Schatter,
The Monochrome Set,
The Gun Club,
Supertramp,
Ultra Naté,
the Association,
Roxy Music,
Captain Beefheart & His Magic Band,
Jawbox,
Soft Cell,
ABC,
Moss Icon,
Darondo,
John Lydon,
The Associates,
Piero Umiliani,
Newcleus,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
Monks,
Donny Hathaway,
Michelle Simonal,
UT,
Los Fastidios,
Y Pants,
Nick Cave & The Bad Seeds,
Gerry Rafferty,
L. Decosne,
The Names,
Jerry Gold Smith,
Barry Ungar,
Banda Bassotti,
Electric Light Orchestra,
Severed Heads,
Camberwell Now,
Groovy Waters,
Bush Tetras,
Jesper Dahlback,
The Moody Blues,
Arcadia,
The Cramps,
Isaac Hayes,
Sonic Youth,
Scrapy,
Pere Ubu,
Angels of Light & Akron/Family,
Gil Scott-Heron & Brian Jackson,
DJ Style, DJ Style, DJ Style, DJ Style.
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.