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 Finland and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 Tommy Roe to the techno kids.
I played it at the Crocodile.
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 Audionom. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
The Invisible,
Susan Cadogan,
Marmalade,
Girls At Our Best!,
Amazonics,
Magma,
Q and Not U,
Accadde A,
Alton Ellis,
The Velvet Underground,
the Sonics,
Khruangbin,
Crispian St. Peters,
Theoretical Girls,
Scratch Acid,
Tres Demented,
The Trojans,
The Real Kids,
Mark Hollis,
The Grass Roots,
Eli Mardock,
Cabaret Voltaire,
Gregory Isaacs,
Pete Rock & C.L. Smooth,
John Coltrane,
Judy Mowatt,
Loose Ends,
U.S. Maple,
Minutemen,
Negative Approach,
Youth Brigade,
The Pop Group,
Maurizio,
Boz Scaggs,
Interpol,
The Slits,
Oneida,
Infiniti,
Bronski Beat,
Boogie Down Productions,
DNA,
Gang Starr,
The Misunderstood,
Marc Romboy vs. Booka Shade,
The Saints,
Sällskapet,
The Alarm Clocks,
Junior Murvin,
Little Man,
Lower 48,
The Beau Brummels,
Danielle Patucci,
Heaven 17,
Donald Byrd,
a-ha,
Peter Gordon & Love of Life Orchestra,
Joyce Sims,
Amon Düül II,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.