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 Guatemala and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Halifax 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 Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Neil Young to the techno kids.
I played it at the Roxy.
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 Young Marble Giants. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a mellotron 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 chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Guru Guru,
Suicide,
Echospace,
Rod Modell,
Motorama,
Model 500,
Stockholm Monsters,
Traffic Nightmare,
Gichy Dan,
H. Thieme,
Stereo Dub,
Rotary Connection,
Spoonie Gee,
Morten Harket,
Shoche,
Mr. Review,
T. Rex,
Intrusion,
Pussy Galore,
Major Organ And The Adding Machine,
Harry Pussy,
Pharoah Sanders,
Lalann,
Interpol,
The J.B.'s,
Fat Boys,
Sticky Fingaz feat. Raekwon,
the Slits,
Shuggie Otis,
Ken Boothe,
London Community Gospel Choir,
X-102,
Fugazi,
Anakelly,
Scott Walker,
Bush Tetras,
Zapp,
Ohio Players,
Faust,
Make Up,
The Monks,
The Neon Judgement,
Rakim,
Sarah Menescal,
Josef K,
The Move,
The Slackers,
Lizzy Mercier Descloux,
Selector Dub Narcotic,
Pharaoh Sanders and the Fire Engines,
Alison Limerick,
Lower 48,
The Toasters,
Scion,
Smog,
Ponytail,
Slave,
The Knickerbockers,
Rites of Spring,
The Gories,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.