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 Belarus and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Animal Collective to the grunge kids.
I played it at the Astoria.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every La Düsseldorf 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Lalo Schifrin,
Rotary Connection,
Urselle,
Bobby Byrd,
Lou Reed & Metallica,
Bronski Beat,
Aaron Thompson,
Trumans Water,
Sun Ra,
The Invisible,
The Move,
Lou Christie,
L. Decosne,
Section 25,
Black Sheep,
Quantec,
Average White Band,
Dual Sessions,
Brick,
Nick Fraelich,
Outsiders,
Ornette Coleman,
Joe Smooth,
Panda Bear,
The Red Krayola,
Bang On A Can,
Jacob Miller,
Silicon Teens,
Swell Maps,
Shoche,
Groovy Waters,
New York Dolls,
The Victims,
T. Rex,
Fela Kuti,
The Names,
The Misunderstood,
David Axelrod,
Y Pants,
Barclay James Harvest,
Lebanon Hanover,
Procol Harum,
Minnie Riperton,
Eli Mardock,
The Electric Prunes,
Aural Exciters,
Brass Construction,
Blake Baxter,
The Mighty Diamonds,
Jesper Dahlback,
Amon Düül,
The Stooges,
Shuggie Otis,
Sun Ra Arkestra,
Laurel Aitken,
the Normal,
One Last Wish,
the Association,
Fort Wilson Riot,
The Happenings,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.