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 Togo and from Columbus.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Spokane.
I'm losing my edge to the art-school Columbus 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Erasure to the techno kids.
I played it at the Hacienda.
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 Drive Like Jehu. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 Los Fastidios record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ 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?
The Move,
Dual Sessions,
X-102,
Loose Ends,
Neil Young & Crazy Horse,
Sällskapet,
La Düsseldorf,
Moss Icon,
Rapeman,
Notorious Big And Bone Thugs,
The Real Kids,
Judy Mowatt,
The Sound,
Unrelated Segments,
Röyhkä ja Rättö ja Lehtisalo,
Audionom,
Thinking Fellers Union Local 282,
The Blackbyrds,
Al Stewart,
Rekid,
Sixth Finger,
Franke,
Camberwell Now,
Lakeside,
Avey Tare's Slasher Flicks,
Grandmaster Flash,
Johnny Clarke,
Minnie Riperton,
Henry Cow,
Fad Gadget,
The Residents,
Ossler,
Vladislav Delay,
Thee Headcoats,
Funkadelic,
The West Coast Pop Art Experimental Band,
Deepchord,
Porter Ricks,
Ultramagnetic MC's,
Tomorrow,
Crime,
The Index,
Panda Bear,
The Stooges,
World's Most,
Index,
The Grass Roots,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Cale,
Drexciya,
Laurel Aitken,
New Age Steppers,
Leonard Cohen,
Charles Mingus,
Wasted Youth,
Popol Vuh,
Heavy D & The Boyz,
The Sisters of Mercy,
Banda Bassotti,
Danielle Patucci,
Faust,
The Misunderstood,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.