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 Argentina and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Au Pairs to the jazz kids.
I played it at the Crocodile.
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 Motions. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal dance 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 güiro 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 marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Terrestrial Tones,
Mark Hollis,
Negative Approach,
Reagan Youth,
Donald Byrd,
Boredoms,
the Fania All-Stars,
the Human League,
Charles Mingus,
Blake Baxter,
LL Cool J,
The Sound,
Louis and Bebe Barron,
Man Parrish,
Pantytec,
Gichy Dan,
The Moleskins,
Interpol,
Derrick Morgan,
Pantaleimon,
The Seeds,
Niagra,
La Düsseldorf,
John Holt,
The Litter,
R.M.O.,
Roxy Music,
John Lydon,
Essential Logic,
Inner City,
Barbara Tucker,
Gang of Four,
Sun City Girls,
X-102,
Sam Rivers,
Sugar Minott,
Chris & Cosey,
Groovy Waters,
DJ Sneak,
Warsaw,
Dual Sessions,
Drexciya,
Brick,
The Men They Couldn't Hang,
Rapeman,
K-Klass,
Banda Bassotti,
Angry Samoans,
The Music Machine,
The Victims,
Aswad,
Harry Pussy,
Peter and Kerry,
Crash Course in Science,
Pagans,
Bob Dylan,
Gian Franco Pienzio,
Marshall Jefferson,
Ohio Players,
Rod Modell,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.