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 Grenada and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 All-Stars to the punk 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 Model 500. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
David McCallum,
Urselle,
Oppenheimer Analysis,
The Fire Engines,
Unrelated Segments,
Kayak,
Second Layer,
Pagans,
Jesper Dahlback,
Roy Ayers,
Y Pants,
The Monochrome Set,
Drexciya,
The Fuzztones,
the Human League,
The Cure,
Royal Trux,
Yusef Lateef,
Dorothy Ashby,
Sandy B,
Bobby Womack,
Al Stewart,
Hasil Adkins,
Louis and Bebe Barron,
Ludus,
Wighnomy Brothers & Robag Wruhme,
Crime,
Section 25,
Rod Modell,
Barry Ungar,
Pylon,
Stockholm Monsters,
The Remains,
It's A Beautiful Day,
Schoolly D,
Lebanon Hanover,
Danielle Patucci,
The Slackers,
Brick,
Deakin,
Average White Band,
Animal Collective,
The Tremeloes,
The Beau Brummels,
The Names,
Wings,
Albert Ayler,
Cameo,
Harpers Bizarre,
The Golliwogs,
Heaven 17,
Camron Feat. Jay Z And Juelz,
The Trojans,
Tropical Tobacco,
Richard Hell and the Voidoids,
The Leaves,
The Music Machine,
Swell Maps,
Brand Nubian,
Jerry's Kids,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.