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 Liechtenstein and from Jakarta.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Edmonton 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 mellotron 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 Kool Moe Dee to the rock 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 Sly & The Family Stone. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Charles Mingus 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a guitar 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 arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Absolute Body Control,
Selector Dub Narcotic,
The Last Poets,
Soft Machine,
Al Stewart,
Rhythim Is Rhythim,
Newcleus,
Blancmange,
The Jesus and Mary Chain,
Moebius,
KRS-One,
Arcadia,
Masters at Work,
K-Klass,
Avey Tare,
Vladislav Delay,
Surgeon,
Dave Gahan,
Pole,
Mad Mike,
Henry Cow,
Excepter,
The Music Machine,
Peter & Gordon,
Pylon,
Buzzcocks,
The Trojans,
Con Funk Shun,
Shoche,
Organ,
Strawberry Alarm Clock,
The Dirtbombs,
Erasure,
Brothers Johnson,
L. Decosne,
In Retrospect,
Freddie Wadling,
Camouflage,
Kas Product,
Q65,
Oppenheimer Analysis,
Eric Dolphy,
Albert Ayler,
Matthew Bourne,
Gong,
Avey Tare's Slasher Flicks,
Malaria!,
Urselle,
10cc,
Babytalk,
Bauhaus,
Public Image Ltd.,
The Golliwogs,
Oneida,
Angels of Light & Akron/Family,
Au Pairs,
Banda Bassotti,
The Litter,
Iggy Pop,
Model 500,
Art Ensemble Of Chicago,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.