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 Japan and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 The United States of America to the dance 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 Arthur Verocai. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Tommy Roe 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 '80s.
I hear you're buying a 808 and a marimba 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 mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Niagra,
Jeff Mills,
Siouxsie and the Banshees,
Jandek,
Tom Boy,
David Axelrod,
Funky Four + One,
Bootsy Collins,
Rhythm & Sound,
Gary Puckett & The Union Gap,
Moebius,
The West Coast Pop Art Experimental Band,
Avey Tare,
Deepchord,
Derrick May,
Crispy Ambulance,
Bobby Byrd,
Crispian St. Peters,
Bobby Hutcherson,
Larry & the Blue Notes,
Fatback Band,
Japan,
The Stooges,
John Lydon,
Marvin Gaye,
Joe Smooth,
Rowland S Howard / Lydia Lunch,
Soft Machine,
Lakeside,
the Sonics,
Electric Prunes,
Peter Gordon & Love of Life Orchestra,
Dual Sessions,
Chris Corsano,
Monks,
Mars,
Stiv Bators,
Moss Icon,
Bronski Beat,
Bizarre Inc.,
Roxy Music,
Lafayette Afro Rock Band,
AZ,
Roy Ayers,
The Detroit Cobras,
Grauzone,
Kurtis Blow,
Derrick Morgan,
Rosa Yemen,
Unrelated Segments,
Rahsaan Roland Kirk,
Graham Central Station,
The Neon Judgement,
World's Most,
Joensuu 1685,
Rapeman,
Faust,
T. Rex,
Carl Craig,
X-Ray Spex,
The Chocolate Watch Band,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.