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 Netherlands and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Edmonton 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 snare 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 Ultravox to the punk kids.
I played it at Trash.
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 Nils Olav. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Eyeless In Gaza,
Blossom Toes,
Pole,
Mo-Dettes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Be Bop Deluxe,
Nick Fraelich,
Quando Quango,
Soft Cell,
Harry Pussy,
Technova,
Loose Ends,
Harpers Bizarre,
Bobby Hutcherson,
Hashim,
Bizarre Inc.,
Swans,
Alice Coltrane,
Slave,
Richard Hell and the Voidoids,
Visage,
Sex Pistols,
cv313,
Simply Red,
Bill Near,
Neu!,
Masters at Work,
Junior Murvin,
Echospace,
Max Romeo,
The Red Krayola,
Peter & Gordon,
Gabor Szabo,
Buzzcocks,
Youth Brigade,
Bobbi Humphrey,
Wally Richardson,
Cabaret Voltaire,
Matthew Bourne,
Electric Prunes,
Essential Logic,
Siouxsie and the Banshees,
Erasure,
X-101,
The Smiths,
Delon & Dalcan,
Heaven 17,
Brass Construction,
Bluetip,
Von Mondo,
Nils Olav,
The Count Five,
Lou Reed & Metallica,
Ludus,
The Dirtbombs,
Gichy Dan,
Anthony Braxton,
Neil Young & Crazy Horse,
Arthur Verocai,
The Pretty Things,
Gastr Del Sol,
The Associates, The Associates, The Associates, The Associates.
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.