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 Bangladesh and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 L. Decosne 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 London Community Gospel Choir. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Joy Division 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 '70s.
I hear you're buying an organ and a theremin 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
The Sisters of Mercy,
The Velvet Underground,
Boogie Down Productions,
The Jesus and Mary Chain,
Scott Walker + Sunn O))),
Bad Manners,
Das Ding,
Crime,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nas,
Barclay James Harvest,
Tim Buckley,
Selector Dub Narcotic,
Pierre Henry,
Thee Headcoats,
The Monochrome Set,
Alice Coltrane,
Robert Hood,
Tres Demented,
Yazoo,
Arthur Verocai,
Monks,
Kool G Rap & DJ Polo,
Skaos,
Bronski Beat,
Au Pairs,
Sound Behaviour,
Eve St. Jones,
Sugar Minott,
Super Lover Cee & Casanova Rud,
Eric Dolphy,
The West Coast Pop Art Experimental Band,
The Royal Family And The Poor,
Larry & the Blue Notes,
The Cure,
Panda Bear,
Louis and Bebe Barron,
Minor Threat,
48th St. Collective,
Gang of Four,
Kayak,
The Motions,
The Young Rascals,
Outsiders,
LL Cool J,
Lee Hazlewood,
Girls At Our Best!,
Jandek,
Man Parrish,
The Associates,
Vainqueur,
Swell Maps,
Jesper Dahlback,
Roger Hodgson,
The Misunderstood,
The Dead C,
Flash Fearless,
The Dave Clark Five,
a-ha,
Tears for Fears,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.