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 Saudi Arabia and from Cairo.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Johannesburg 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 Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Oblivians to the jazz kids.
I played it at the 40 Watt.
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 Strawberry Alarm Clock. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes 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 marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
Boogie Down Productions,
The Selecter,
Shuggie Otis,
Joyce Sims,
PIL,
The Walker Brothers,
Reagan Youth,
Cecil Taylor,
Drexciya,
Lower 48,
Piero Umiliani,
Archie Shepp,
Isaac Hayes,
Scion,
Average White Band,
The Pretty Things,
Jandek,
Siglo XX,
Quadrant,
Black Bananas,
Infiniti,
John Holt,
David McCallum,
The Durutti Column,
Visage,
X-102,
The Gories,
Sex Pistols,
Inner City,
Graham Central Station,
Jawbox,
Max Romeo,
Ponytail,
The Young Rascals,
D'Angelo,
Soft Machine,
E-Dancer,
Peter and Kerry,
Japan,
The Pop Group,
Banda Bassotti,
T.S.O.L.,
Marine Girls,
Big Daddy Kane,
Grandmaster Flash and the Furious Five,
FM Einheit,
Zero Boys,
The Cosmic Jokers,
Gang of Four,
Gian Franco Pienzio,
The Count Five,
Visionaries,LMNO, T- Love & Iriscience,
Funky Four + One,
Fifty Foot Hose,
Rotary Connection,
Gong,
Youth Brigade,
Angels of Light & Akron/Family,
Qualms,
Half Japanese,
Rekid,
Jerry Gold Smith,
Amon Düül II,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.