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 Malawi and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 Fugazi to the electroclash kids.
I played it at the Hacienda.
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 Siglo XX. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every T.S.O.L. 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Angels of Light,
Main Source,
Rod Modell,
Manfred Mann's Earth Band,
The Detroit Cobras,
Marc Romboy vs. Booka Shade,
The Dave Clark Five,
Nils Olav,
Lebanon Hanover,
Flipper,
Isaac Hayes,
Patti Smith,
Rowland S Howard / Lydia Lunch,
Bang on a Can All-Stars,
Richard Hell and the Voidoids,
Pharaoh Sanders and the Fire Engines,
Sex Pistols,
The Real Kids,
Fifty Foot Hose,
Dennis Brown,
Matthew Bourne,
The Fire Engines,
The Tremeloes,
Gregory Isaacs,
Hoover,
Amon Düül II,
Liaisons Dangereuses,
Average White Band,
The Fugs,
The United States of America,
Ronnie Foster,
The Sonics,
Mantronix,
Juan Atkins,
Terrestrial Tones,
It's A Beautiful Day,
Alphaville,
Crispy Ambulance,
The Last Poets,
Oppenheimer Analysis,
B.T. Express,
Curtis Mayfield,
Fat Boys,
Black Pus,
Hardrive,
Funky Four + One,
Icehouse,
Aloha Tigers,
Cybotron,
Accadde A,
Oneida,
Boogie Down Productions,
Robert Görl,
Schoolly D,
Bluetip,
The Velvet Underground,
Sly & The Family Stone,
Siglo XX,
The Blackbyrds,
OOIOO,
DNA,
L. Decosne,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.