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 Belize and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Copenhagen and Salvador.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Terrestrial Tones to the crunk kids.
I played it at Trash.
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 Maurizio. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Lungfish,
The West Coast Pop Art Experimental Band,
Crooked Eye,
FM Einheit,
KRS-One,
Cecil Taylor,
The Standells,
John Holt,
Essential Logic,
Ajijia Myrayebe,
Marcia Griffiths,
Urselle,
Cymande,
Peter & Gordon,
Kas Product,
Stiv Bators,
the Germs,
Gregory Isaacs,
The Star Department,
Loose Ends,
Marshall Jefferson,
Todd Terry,
Nas,
Michelle Simonal,
Main Source,
The Happenings,
The Detroit Cobras,
Jacob Miller,
Rekid,
Bobby Sherman,
This Heat,
Altered Images,
Gang Green,
Donny Hathaway,
Toni Rubio,
Maurizio,
Bad Manners,
Inner City,
Scan 7,
Rhythm & Sound,
Lyres,
The Gap Band,
Lou Reed & John Cale,
Sarah Menescal,
Stetsasonic,
Subhumans,
Lower 48,
Alice Coltrane,
MC5,
Siouxsie and the Banshees,
Con Funk Shun,
The Remains,
Jacques Brel,
Marvin Gaye,
Rufus Thomas,
Eyeless In Gaza,
Drive Like Jehu,
Josef K,
Leonard Cohen,
Roger Hodgson,
Sällskapet,
Lebanon Hanover,
The Selecter, The Selecter, The Selecter, The Selecter.
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.