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 Honduras and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Aswad to the jazz kids.
I played it at the Troubador.
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 Zapp. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Curtis Mayfield,
Minor Threat,
Fela Kuti,
The Music Machine,
Eurythmics,
Mandrill,
Massinfluence,
Parry Music,
Section 25,
Mad Mike,
H. Thieme,
Gabor Szabo,
Von Mondo,
Metal Thangz,
One Last Wish,
Ronan,
The Mighty Diamonds,
Vainqueur,
Dorothy Ashby,
Notorious BIG live in Amsterdam,
Eve St. Jones,
The Men They Couldn't Hang,
Ultravox,
Henry Cow,
Frankie Knuckles,
Popol Vuh,
Ash Ra Tempel,
The Seeds,
Sällskapet,
Marc Almond,
Darondo,
Brothers Johnson,
B.T. Express,
Tim Buckley,
A Flock of Seagulls,
Sam Rivers,
The Monks,
Magazine,
The Pop Group,
Nils Olav,
Gregory Isaacs,
Glambeats Corp.,
John Cale,
DJ Style,
The Angels of Light,
Pylon,
Scientists,
Basic Channel,
Q65,
Max Romeo,
Public Image Ltd.,
Zero Boys,
Bootsy Collins,
John Lydon,
Schoolly D,
Super Lover Cee & Casanova Rud,
Patti Smith,
Camberwell Now,
Sparks, Sparks, Sparks, Sparks.
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.