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 Algeria and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Soft Machine to the rap 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 David Axelrod. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
DeepChord presents Echospace,
The Pop Group,
Qualms,
Isaac Hayes,
Gil Scott Heron,
Bang On A Can,
Jawbox,
Severed Heads,
Soulsonic Force,
Maleditus Sound,
Duran Duran,
Kool G Rap & DJ Polo,
The Gap Band,
Archie Shepp,
The Sisters of Mercy,
Sam Rivers,
Rowland S Howard / Lydia Lunch,
Drexciya,
Soul Sonic Force,
Grandmaster Flash and the Furious Five,
Matthew Bourne,
Jacob Miller,
Heaven 17,
Dead Boys,
Amon Düül II,
Index,
Underground Resistance,
Electric Light Orchestra,
Blancmange,
The Mummies,
Model 500,
The Slits,
Newcleus,
Pulsallama,
T.S.O.L.,
Godley & Creme,
Ash Ra Tempel,
June of 44,
Chris & Cosey,
Cluster,
Aswad,
Joe Smooth,
Ultra Naté,
Faraquet,
Cal Tjader,
The Monks,
Avey Tare & Kría Brekkan,
Sun Ra Arkestra,
De La Soul & Jungle Brothers,
The Victims,
Kas Product,
Lou Christie,
Circle Jerks,
Electric Prunes,
Glenn Branca,
Camron Feat. Jay Z And Juelz,
Johnny Osbourne,
The Neon Judgement,
Tom Boy,
Funky Four + One,
The Royal Family And The Poor,
The Walker Brothers,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.