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 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Jacques Brel to the crunk kids.
I played it at Cafe Wha.
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 Boredoms. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a güiro 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 chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Fear,
Rahsaan Roland Kirk,
Peter and Kerry,
The Monochrome Set,
Radio Birdman,
The Zeros,
Bill Wells,
The Moody Blues,
Theoretical Girls,
Gang Green,
Alphaville,
Mandrill,
Vainqueur,
Dorothy Ashby,
Anthony Braxton,
The Royal Family And The Poor,
Glambeats Corp.,
Cheater Slicks,
The Fortunes,
Fat Boys,
Echo & the Bunnymen,
Barry Ungar,
Chris Corsano,
Tears for Fears,
Strawberry Alarm Clock,
Masters at Work,
Donny Hathaway,
Country Joe & The Fish,
The Music Machine,
Ice-T,
The Flesh Eaters,
Joe Smooth,
Alice Coltrane,
The Red Krayola,
Ronan,
Chris & Cosey,
Liliput,
World's Most,
Fugazi,
Faraquet,
Godley & Creme,
China Crisis,
Joy Division,
Al Stewart,
The Move,
Intrusion,
Thinking Fellers Union Local 282,
Lou Christie,
Tropical Tobacco,
Girls At Our Best!,
Notorious Big And Bone Thugs,
Ultramagnetic MC's,
Talk Talk,
One Last Wish,
Wolf Eyes,
Manfred Mann's Earth Band,
Make Up,
Infiniti,
Fatback Band,
Clear Light,
Black Bananas,
John Foxx,
Mars,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.