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 East Timor and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 to the jazz 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 Janne Schatter. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Lakeside,
Todd Rundgren,
Ken Boothe,
Bauhaus,
The Fall,
Bang on a Can All-Stars,
Gang Gang Dance,
Heaven 17,
The Knickerbockers,
Gichy Dan,
Gil Scott-Heron and Jamie xx,
Lower 48,
Rufus Thomas,
Bootsy's Rubber Band,
Magma,
Flamin' Groovies,
Marine Girls,
Sam Rivers,
The Chocolate Watch Band,
Gary Puckett & The Union Gap,
Yazoo,
UT,
The Searchers,
Jesper Dahlbäck,
The Beau Brummels,
Blancmange,
ABC,
Lightning Bolt,
Curtis Mayfield,
The Selecter,
Swans,
The Grass Roots,
Clear Light,
Wolf Eyes,
Kerri Chandler,
Bang On A Can,
Soul Sonic Force,
Drexciya,
Massinfluence,
Cluster,
Rod Modell,
a-ha,
Beasts of Bourbon,
Pharoah Sanders,
The Mighty Diamonds,
Pulsallama,
Malaria!,
Section 25,
David McCallum,
PIL,
The Dead C,
Essential Logic,
Ronnie Foster,
Carl Craig,
Rhythim Is Rhythim,
The Fugs,
Siglo XX,
Skriet,
John Cale,
Dawn Penn,
Kenny Larkin,
Roy Ayers Ubiquity,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.