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 Namibia and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television 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 1974.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Anakelly 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 Jandek. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a snare 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 clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Fat Boys,
Boogie Down Productions,
The Vogues,
Girls At Our Best!,
Altered Images,
The Human League,
Henry Cow,
Rites of Spring,
Fifty Foot Hose,
One Last Wish,
H. Thieme,
Joensuu 1685,
The Angels of Light,
Q65,
Mars,
E-Dancer,
The Associates,
Avey Tare,
Angry Samoans,
The Gladiators,
Y Pants,
Jawbox,
Desert Stars,
The Offenders,
Barclay James Harvest,
Qualms,
Leonard Cohen,
Justin Hinds & The Dominoes,
Theoretical Girls,
Gang Green,
Lou Reed,
Oblivians,
Oppenheimer Analysis,
Livin' Joy,
Marc Almond,
Rufus Thomas,
Agent Orange,
Kango’s Stein Massive,
New Order,
Kurtis Blow,
James Chance & The Contortions,
Symarip,
Kenny Larkin,
DeepChord presents Echospace,
The Residents,
Judy Mowatt,
Brick,
Nation of Ulysses,
Bang On A Can,
FM Einheit,
De La Soul & Jungle Brothers,
Easy Going,
Pylon,
Richard Hell and the Voidoids,
Pet Shop Boys,
Aaron Thompson,
Kas Product,
Red Lorry Yellow Lorry,
Howard Jones,
Magazine,
Basic Channel,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.