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 Halifax.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Paris 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Motions to the rock kids.
I played it at Trash.
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 Half Japanese. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Main Source 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 '70s.
I hear you're buying a marimba and a synthesizer 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
The Detroit Cobras,
Robert Hood,
Pharaoh Sanders and the Fire Engines,
Fat Boys,
Selector Dub Narcotic,
Gong,
Simply Red,
AZ,
Essential Logic,
Jawbox,
Be Bop Deluxe,
Archie Shepp,
It's A Beautiful Day,
Rhythm & Sound,
Von Mondo,
The Chocolate Watch Band,
The Doobie Brothers,
Piero Umiliani,
Masters at Work,
Mandrill,
Pagans,
The Selecter,
Spandau Ballet,
The Raincoats,
The Fall,
Lungfish,
Idris Muhammad,
Spoonie Gee,
Saccharine Trust,
the Soft Cell,
Jeff Mills,
Yellowson,
The Angels of Light,
Bootsy Collins,
David McCallum,
Anthony Braxton,
Gil Scott Heron,
The Five Americans,
The Remains,
Joey Negro,
Sad Lovers and Giants,
EPMD,
Electric Light Orchestra,
Neil Young,
The Fuzztones,
Faraquet,
Chris Corsano,
Electric Prunes,
Bang on a Can All-Stars,
Max Romeo,
Deepchord,
Jerry Gold Smith,
Faust,
Loose Ends,
Unrelated Segments,
Tomorrow,
The Young Rascals,
Kings Of Tomorrow,
Laurel Aitken,
Arthur Verocai,
CMW,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.