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 Honduras and from Woodstock.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Accra 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the grunge 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 Charles Mingus. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Mojo Men,
Cameo,
Black Moon,
Gabor Szabo,
Scion,
Magazine,
Mantronix,
Kango’s Stein Massive,
Fifty Foot Hose,
Jeff Mills,
Pantaleimon,
The Selecter,
The Fire Engines,
Wolf Eyes,
Rotary Connection,
48th St. Collective,
cv313,
Derrick Morgan,
Super Lover Cee & Casanova Rud,
Gang Starr,
The Zeros,
The Knickerbockers,
8 Eyed Spy,
Aaron Thompson,
The Victims,
Nils Olav,
The Dirtbombs,
Liliput,
Tropical Tobacco,
The Golliwogs,
The Misunderstood,
Rahsaan Roland Kirk,
Pulsallama,
Circle Jerks,
La Düsseldorf,
Funkadelic,
Dr. Dre and Snoop Doggy Dog,
Shoche,
Sam Rivers,
Eve St. Jones,
It's A Beautiful Day,
A Flock of Seagulls,
The Electric Prunes,
Graham Central Station,
DeepChord presents Echospace,
Oblivians,
The Mummies,
OOIOO,
The Blues Magoos,
Major Organ And The Adding Machine,
Be Bop Deluxe,
The Birthday Party,
DJ Style,
Pussy Galore,
The Peanut Butter Conspiracy,
Lou Reed & John Cale,
John Lydon,
Section 25,
Roy Ayers Ubiquity,
The West Coast Pop Art Experimental Band,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.