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 Bahrain and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Banda Bassotti to the grime kids.
I played it at the Roxy.
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 Brick. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Rakim,
Funky Four + One,
Barrington Levy,
De La Soul & Jungle Brothers,
Ponytail,
Groovy Waters,
Cameo,
Larry & the Blue Notes,
Grandmaster Flash,
Amazonics,
Idris Muhammad,
Masters at Work,
The Stooges,
Magazine,
The Victims,
Sight & Sound,
Notorious BIG live in Amsterdam,
Slave,
Curtis Mayfield,
Michelle Simonal,
Brass Construction,
Basic Channel,
Stiv Bators,
The Angels of Light,
Moby Grape,
Max Romeo,
Crash Course in Science,
Scrapy,
Throbbing Gristle,
The Fire Engines,
Can,
Con Funk Shun,
Quadrant,
The Moody Blues,
Crispian St. Peters,
Mark Hollis,
Vainqueur,
Sound Behaviour,
David Bowie,
Scott Walker,
Lalo Schifrin,
Laurel Aitken,
The Fuzztones,
The Index,
Jerry Gold Smith,
The Leaves,
Monks,
Bluetip,
Kurtis Blow,
Jacques Brel,
Funkadelic,
Chris Corsano,
The Misunderstood,
Niagra,
Kayak,
Rekid,
Youth Brigade,
X-Ray Spex,
The Count Five,
Pole,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.