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 Uruguay and from Houston.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Madrid 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 Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Bang on a Can All-Stars to the disco kids.
I played it at the Astoria.
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 Pussy Galore. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Peter Gordon & Love of Life Orchestra,
Guru Guru,
Gong,
Todd Terry,
Cecil Taylor,
Japan,
Joy Division,
Shoche,
Gastr Del Sol,
Stetsasonic,
Dead Boys,
Urselle,
Pole,
Rapeman,
Aloha Tigers,
Al Stewart,
Lonnie Liston Smith,
Intrusion,
The Mighty Diamonds,
Bang on a Can All-Stars,
Kaleidoscope,
Scientists,
a-ha,
Lizzy Mercier Descloux,
The Pretty Things,
Erasure,
Sly & The Family Stone,
Slave,
Clear Light,
Brothers Johnson,
Matthew Bourne,
Althea and Donna,
Goldenarms,
Be Bop Deluxe,
Joensuu 1685,
T. Rex,
Sun Ra Arkestra,
Dark Day,
Boogie Down Productions,
Reagan Youth,
Thee Headcoats,
Symarip,
Archie Shepp,
The Electric Prunes,
Marc Romboy vs. Booka Shade,
Eli Mardock,
Rites of Spring,
Max Romeo,
Drive Like Jehu,
The Victims,
Minny Pops,
The Divine Comedy,
Surgeon,
Sparks,
New Age Steppers,
Charles Mingus,
Godley & Creme,
The Shadows of Knight,
Curtis Mayfield,
T.S.O.L.,
Delta 5,
Tom Boy,
Hoover, Hoover, Hoover, Hoover.
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.