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 Solomon Islands and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Lee Hazlewood 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 Barclay James Harvest. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Chrome 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a guitar 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 mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Notorious Big And Bone Thugs,
The Offenders,
Kevin Saunderson,
Circle Jerks,
This Heat,
Alice Coltrane,
Mr. Review,
Sunsets and Hearts,
Kerrie Biddell,
Aswad,
Pete Rock & C.L. Smooth,
Arthur Verocai,
Pharoah Sanders,
Barry Ungar,
Curtis Mayfield,
Tubeway Army,
Warren Ellis,
the Bar-Kays,
Marvin Gaye,
Susan Cadogan,
Rod Modell,
Yaz,
Tropical Tobacco,
Country Joe & The Fish,
The Detroit Cobras,
Ultravox,
Malaria!,
EPMD,
Gang of Four,
Orchestral Manoeuvres in the Dark,
Zapp,
Lou Reed & John Cale,
Metal Thangz,
Rhythm & Sound,
Janne Schatter,
Average White Band,
Radio Birdman,
Scan 7,
Todd Terry,
Godley & Creme,
The J.B.'s,
kango's stein massive,
Faraquet,
Amon Düül II,
Japan,
Bobbi Humphrey,
Fluxion,
Maurizio,
UT,
Kauko Röyhkä ja Narttu,
U.S. Maple,
Ralphi Rosario,
Brand Nubian,
Jeff Mills,
Jacques Brel,
Magazine,
Camouflage,
Gang Green,
Blancmange,
The Cure,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.