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 Luxembourg and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Tom Boy to the grime 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 PIL. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal punk 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 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 theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
The Angels of Light,
Man Parrish,
Pere Ubu,
The Mighty Diamonds,
Cecil Taylor,
Funkadelic,
Nirvana,
Aaron Thompson,
Davy DMX,
Crime,
Cybotron,
The Alarm Clocks,
Qualms,
Desert Stars,
Yellowson,
Saccharine Trust,
Groovy Waters,
Toni Rubio,
Big Daddy Kane,
Black Sheep,
Rufus Thomas,
The Motions,
Agitation Free,
John Foxx,
The Mummies,
Sarah Menescal,
Suicide,
Funky Four + One,
The Raincoats,
Teenage Jesus and the Jerks,
The Blackbyrds,
Lebanon Hanover,
Inner City,
Hashim,
Neu!,
Grauzone,
Kenny Larkin,
Siouxsie and the Banshees,
Ice-T,
The Moleskins,
Orchestral Manoeuvres in the Dark,
PIL,
Jacques Brel,
Kayak,
The Flesh Eaters,
Susan Cadogan,
Derrick May,
The Jesus and Mary Chain,
Bootsy's Rubber Band,
China Crisis,
Wings,
The Standells,
Livin' Joy,
Public Image Ltd.,
The Barracudas,
Art Ensemble Of Chicago,
Deutsch Amerikanische Freundschaft,
Rites of Spring,
Richard Hell and the Voidoids,
Brass Construction,
Infiniti,
Q65, Q65, Q65, Q65.
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.