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 Cuba and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1973.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 Grandmaster Flash and the Furious Five to the crunk kids.
I played it at Trash.
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 Jawbox. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb 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 guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Ultra Naté,
Bob Dylan,
The Five Americans,
Sly & The Family Stone,
Archie Shepp,
MC5,
Dorothy Ashby,
The Stooges,
The Buckinghams,
Depeche Mode,
Soul II Soul,
Television,
Laurel Aitken,
Duran Duran,
Johnny Osbourne,
Hoover,
Tropical Tobacco,
Jacob Miller,
Country Teasers,
Rhythm & Sound,
Eve St. Jones,
the Germs,
Vainqueur,
Crispian St. Peters,
Oppenheimer Analysis,
Peter & Gordon,
T.S.O.L.,
The Doors,
Tres Demented,
The Tremeloes,
The Trojans,
The Searchers,
Amon Düül,
Rapeman,
8 Eyed Spy,
Derrick Morgan,
KRS-One,
Jimmy McGriff,
Sonny Sharrock,
Popol Vuh,
Sad Lovers and Giants,
Jandek,
Theoretical Girls,
the Swans,
Girls At Our Best!,
Rod Modell,
Soft Machine,
Dark Day,
World's Most,
Absolute Body Control,
Simply Red,
Slave,
Carl Craig,
The Shadows of Knight,
Flamin' Groovies,
Ken Boothe,
Robert Hood,
Frankie Knuckles,
Nico,
Thee Headcoats,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.