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 Pakistan and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Madrid 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 Big Star practice in a loft in Memphis.
I was working on the clarinet 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 Letta Mbulu to the grime 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 Pierre Henry. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Joey Negro 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ 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 a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Sun Ra,
Siouxsie and the Banshees,
F. McDonald,
Louis and Bebe Barron,
Rufus Thomas,
Warren Ellis,
The Mummies,
Public Image Ltd.,
Accadde A,
Bizarre Inc.,
Ultra Naté,
The Sonics,
Eddi Front,
Magazine,
Fatback Band,
The Dave Clark Five,
Pole,
Con Funk Shun,
The Fire Engines,
Ornette Coleman,
Freddie Wadling,
Susan Cadogan,
The Moleskins,
Crash Course in Science,
the Slits,
Skriet,
Lindisfarne,
Lyres,
Shuggie Otis,
Magma,
The Velvet Underground,
Index,
Todd Terry,
DNA,
Bang on a Can All-Stars,
Joey Negro,
Nik Kershaw,
Jerry Gold Smith,
Ultravox,
New York Dolls,
Major Organ And The Adding Machine,
Roy Ayers,
Newcleus,
The Seeds,
Robert Wyatt,
Reuben Wilson,
Charles Mingus,
Flipper,
Strawberry Alarm Clock,
Blossom Toes,
Rekid,
Albert Ayler,
Theoretical Girls,
Ken Boothe,
Lightning Bolt,
Faust,
Youth Brigade,
China Crisis,
World's Most,
The Vogues,
Inner City,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.