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 Dominican Republic and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1975.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Delhi 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Ralphi Rosario to the disco 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 the Association. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal rock 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 808 and a marimba 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Eli Mardock,
Brothers Johnson,
Traffic Nightmare,
Tom Boy,
Quadrant,
Peter and Kerry,
Notorious BIG live in Amsterdam,
the Swans,
Yazoo,
Television,
Sonny Sharrock,
Motorama,
Loose Ends,
The Moleskins,
Pulsallama,
Minnie Riperton,
Louis and Bebe Barron,
Fugazi,
Donny Hathaway,
Pagans,
Popol Vuh,
Unrelated Segments,
Angels of Light & Akron/Family,
Eyeless In Gaza,
Alison Limerick,
Faraquet,
Quando Quango,
Bobby Hutcherson,
The Angels of Light,
Lakeside,
Au Pairs,
The Stooges,
Negative Approach,
Shuggie Otis,
DNA,
Moby Grape,
Interpol,
Colin Newman,
Kool Moe Dee,
Liaisons Dangereuses,
Pierre Henry,
Tears for Fears,
New Age Steppers,
Nirvana,
H. Thieme,
Monolake,
Soft Machine,
Accadde A,
The Invisible,
Das Ding,
Wighnomy Brothers & Robag Wruhme,
Erykah Badu,
JFA,
Reagan Youth,
The Wake,
Fad Gadget,
The Smiths,
Cluster,
Sun Ra Arkestra,
the Association,
Delta 5,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.