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 Turkmenistan and from Houston.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Lagos 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 Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Barry Ungar to the funk 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 Fad Gadget. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Judy Mowatt 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 '90s.
I hear you're buying a linndrum and a spring reverb 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 sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
This Heat,
Beasts of Bourbon,
Suburban Knight,
The Techniques,
Ash Ra Tempel,
Max Romeo,
Lalann,
Lou Reed,
Interpol,
Sällskapet,
Sarah Menescal,
Lakeside,
Inner City,
T. Rex,
The Red Krayola,
La Düsseldorf,
Matthew Bourne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Basic Channel,
The Grass Roots,
The Litter,
Soft Cell,
The Invisible,
Marc Almond,
Eyeless In Gaza,
Crispy Ambulance,
Funky Four + One,
The Black Dice,
Das Ding,
Lou Christie,
Crime,
Prince Buster,
Spoonie Gee,
Danielle Patucci,
Pharaoh Sanders and the Fire Engines,
The Associates,
Vainqueur,
Magazine,
Gerry Rafferty,
Minny Pops,
Alison Limerick,
Arthur Verocai,
Barry Ungar,
Joensuu 1685,
Notorious BIG live in Amsterdam,
Bang on a Can All-Stars,
The Kinks,
Sparks,
The Moleskins,
ABC,
Lyres,
Tropical Tobacco,
Slave,
Leonard Cohen,
Terror Squad Feat. Camron,
Rosa Yemen,
Ronan,
Gang Gang Dance,
The Seeds,
Pierre Henry,
KRS-One,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.