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 Vanuatu and from Salvador.
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 1977.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 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 H. Thieme to the punk kids.
I played it at the Crocodile.
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 Kerri Chandler. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Bang on a Can All-Stars,
Kings Of Tomorrow,
In Retrospect,
The Mojo Men,
Funky Four + One,
Sly & The Family Stone,
Echo & the Bunnymen,
Richard Hell and the Voidoids,
E-Dancer,
Grandmaster Flash,
Warren Ellis,
Rakim,
Junior Murvin,
Connie Case,
Section 25,
Bobbi Humphrey,
Jeru the Damaja,
Zero Boys,
Sun Ra Arkestra,
Lebanon Hanover,
The Star Department,
Lalo Schifrin,
Nation of Ulysses,
Max Romeo,
Animal Collective,
Gang of Four,
MC5,
The Men They Couldn't Hang,
Sarah Menescal,
Kauko Röyhkä ja Narttu,
the Human League,
Roger Hodgson,
Public Enemy,
Eddi Front,
The Busters,
Lucky Dragons,
Fort Wilson Riot,
Deadbeat,
The Golliwogs,
Alice Coltrane,
Dead Boys,
Terry Callier,
Country Teasers,
Flipper,
Scott Walker + Sunn O))),
Nils Olav,
Sixth Finger,
Sandy B,
KRS-One,
Danielle Patucci,
Moby Grape,
Brass Construction,
Jesper Dahlback,
Bootsy's Rubber Band,
R.M.O.,
Roy Ayers,
Pylon,
Sunsets and Hearts,
Fatback Band,
Byron Stingily,
Jandek,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.