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 Lebanon and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Taipei 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 The Dead C to the electroclash 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 Sugar Minott. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '60s cut and another box set from the '90s.
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 guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Marcia Griffiths,
Jeff Lynne,
New York Dolls,
Alphaville,
Al Stewart,
Beasts of Bourbon,
Sparks,
The Remains,
Steve Hackett,
JFA,
Piero Umiliani,
Ultra Naté,
Henry Cow,
Reuben Wilson,
The Slits,
A Certain Ratio,
Stiv Bators,
Siglo XX,
Mission of Burma,
David Bowie,
Bobby Hutcherson,
Robert Hood,
June Days,
Avey Tare & Kría Brekkan,
Quadrant,
Stetsasonic,
Nico,
Panda Bear,
The Mummies,
Magma,
The Cure,
Pet Shop Boys,
Neil Young & Crazy Horse,
Carl Craig,
Sonic Youth,
Curtis Mayfield,
The Names,
Sight & Sound,
Amazonics,
Bobby Womack,
Thee Headcoats,
Deakin,
Man Parrish,
Jawbox,
Absolute Body Control,
Scientists,
Kenny Larkin,
The Techniques,
Goldenarms,
Liliput,
Dual Sessions,
David McCallum,
Joyce Sims,
Visionaries,LMNO, T- Love & Iriscience,
James Chance & The Contortions,
Dawn Penn,
Sly & The Family Stone,
The Monks,
Dark Day,
Slave, Slave, Slave, Slave.
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.