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 Haiti and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Bang on a Can All-Stars to the disco kids.
I played it at the Spitz.
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 Cymande. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every MDC 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Crash Course in Science,
John Foxx,
Louis and Bebe Barron,
Index,
Peter and Kerry,
Althea and Donna,
Chrome,
Easy Going,
Technova,
Fifty Foot Hose,
Kayak,
Sugar Minott,
Harry Pussy,
Funky Four + One,
X-Ray Spex,
The New Christs,
Al Stewart,
Jerry Gold Smith,
Ohio Players,
Camouflage,
Lebanon Hanover,
Quando Quango,
Arthur Verocai,
Rod Modell,
Absolute Body Control,
The Litter,
Severed Heads,
K-Klass,
The Index,
Suicide,
Yellowson,
Funkadelic,
Angry Samoans,
Rites of Spring,
DJ Sneak,
Grandmaster Flash,
Make Up,
The Slackers,
Bronski Beat,
Lyres,
Pantaleimon,
Barclay James Harvest,
Bootsy's Rubber Band,
Vaughan Mason & Crew,
The Victims,
Mission of Burma,
New Age Steppers,
Eden Ahbez,
Nas,
Girls At Our Best!,
The Pretty Things,
Unrelated Segments,
Bill Wells,
Pere Ubu,
James White and The Blacks,
Bang on a Can All-Stars,
Notorious BIG live in Amsterdam,
Skriet,
Hardrive,
Thinking Fellers Union Local 282,
Deepchord,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.