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 Bhutan and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Johannesburg 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Oneida to the dance 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 Bang on a Can All-Stars. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Angry Samoans,
Wally Richardson,
Banda Bassotti,
The Residents,
Technova,
Minor Threat,
Pulsallama,
The Young Rascals,
Scrapy,
Kayak,
a-ha,
Tubeway Army,
The West Coast Pop Art Experimental Band,
Make Up,
Tomorrow,
Bang on a Can All-Stars,
Magma,
Television,
Delon & Dalcan,
the Bar-Kays,
Roxette,
Brass Construction,
Peter and Kerry,
Curtis Mayfield,
Smog,
Lou Reed & John Cale,
Slave,
Sister Nancy,
A Flock of Seagulls,
U.S. Maple,
Symarip,
Kauko Röyhkä ja Narttu,
Negative Approach,
Jesper Dahlback,
Graham Central Station,
Massinfluence,
Orchestral Manoeuvres in the Dark,
The Neon Judgement,
Adolescents,
Howard Jones,
Mars,
Jacques Brel,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Soft Cell,
Sun Ra,
China Crisis,
Lyres,
The Smiths,
Nick Cave & The Bad Seeds,
Mission of Burma,
Little Man,
The Victims,
Rowland S Howard / Lydia Lunch,
Camouflage,
Be Bop Deluxe,
Dawn Penn,
Loose Ends,
Ultra Naté,
The Moleskins,
Lafayette Afro Rock Band,
Khruangbin,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.