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 Palau and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Accra 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Symarip to the jazz kids.
I played it at the 40 Watt.
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 Ultramagnetic MC's. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin 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 theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Lou Reed & Metallica,
Eric Copeland,
Talk Talk,
Alphaville,
Sixth Finger,
Althea and Donna,
Pagans,
The Tremeloes,
Dr. Dre and Snoop Doggy Dog,
The Angels of Light,
Lonnie Liston Smith,
Shoche,
Ash Ra Tempel,
Fat Boys,
Harmonia,
Bob Dylan,
Jacques Brel,
Deepchord,
The West Coast Pop Art Experimental Band,
John Cale,
Stiv Bators,
DNA,
Archie Shepp,
John Holt,
Funky Four + One,
Jerry Gold Smith,
the Normal,
Faust,
Public Enemy,
Blancmange,
The Motions,
Parry Music,
Deutsch Amerikanische Freundschaft,
X-101,
PIL,
Liaisons Dangereuses,
Bang On A Can,
Black Sheep,
The Victims,
kango's stein massive,
Matthew Halsall,
B.T. Express,
Nas,
Lightning Bolt,
Livin' Joy,
The Durutti Column,
Crooked Eye,
Scrapy,
Unrelated Segments,
Alice Coltrane,
Kool G Rap & DJ Polo,
The Birthday Party,
Brick,
Kango’s Stein Massive,
Spoonie Gee,
the Fania All-Stars,
Eve St. Jones,
The Seeds,
The Leaves,
Moby Grape,
Malaria!,
Sight & Sound,
Black Moon, Black Moon, Black Moon, Black Moon.
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.