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 Bosnia Herzegovina and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Accra and Taipei.
I'm losing my edge to the art-school Taipei 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Eli Mardock to the jazz 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 Ohio Players. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 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 All-Stars record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Ossler,
Average White Band,
Art Ensemble Of Chicago,
Cluster,
Hashim,
Black Bananas,
Wighnomy Brothers & Robag Wruhme,
The Beau Brummels,
The Busters,
Wire,
Big Daddy Kane,
Brick,
Oblivians,
X-Ray Spex,
Lucky Dragons,
Quando Quango,
ABC,
Idris Muhammad,
Tommy Roe,
Chris & Cosey,
The Zeros,
B.T. Express,
Carl Craig,
Eric Copeland,
Strawberry Alarm Clock,
Agitation Free,
Throbbing Gristle,
Kool Moe Dee,
The Offenders,
Beasts of Bourbon,
Darondo,
Grandmaster Flash and the Furious Five,
Can,
Eli Mardock,
The Sonics,
Jacques Brel,
Andrew Hill,
Harry Pussy,
X-101,
Rites of Spring,
Kerri Chandler,
The Mighty Diamonds,
Scott Walker + Sunn O))),
The Alarm Clocks,
Glenn Branca,
The Doobie Brothers,
The Electric Prunes,
Donny Hathaway,
Dave Gahan,
Moby Grape,
Heaven 17,
The J.B.'s,
Camron Feat. Jay Z And Juelz,
Kerrie Biddell,
Franke,
The Barracudas,
the Association,
Be Bop Deluxe,
Icehouse,
Erykah Badu,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.