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 Morocco and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Basic Channel to the jazz kids.
I played it at the Spitz.
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 Modern Lovers. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every David McCallum 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 '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Alphaville,
E-Dancer,
The Martian,
The Seeds,
Hasil Adkins,
The Pop Group,
Ice-T,
KRS-One,
Don Cherry,
Stetsasonic,
Qualms,
Whodini,
The Index,
The Golliwogs,
Loose Ends,
Minnie Riperton,
Audionom,
Lizzy Mercier Descloux,
David McCallum,
Arcadia,
The Knickerbockers,
Marc Almond,
Trumans Water,
Sonic Youth,
Mandrill,
Fluxion,
Buzzcocks,
The Birthday Party,
Sex Pistols,
R.M.O.,
Manfred Mann's Earth Band,
Bluetip,
Kas Product,
The Fuzztones,
Nils Olav,
Matthew Bourne,
The Chocolate Watch Band,
Grandmaster Flash,
World's Most,
Marmalade,
Fela Kuti,
Goldenarms,
Aswad,
Shoche,
Bush Tetras,
Sly & The Family Stone,
Livin' Joy,
Bauhaus,
Kayak,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
Charles Mingus,
Circle Jerks,
Man Parrish,
The Flesh Eaters,
Stockholm Monsters,
Beasts of Bourbon,
Supertramp,
Black Flag,
Magazine,
Ludus,
Model 500,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.