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 Bahamas and from London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Manchester 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Cameo to the techno kids.
I played it at the 40 Watt.
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 Kool G Rap & DJ Polo. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer 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 güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
The Gun Club,
Be Bop Deluxe,
The Associates,
The Names,
Skaos,
Michelle Simonal,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
MC5,
Sticky Fingaz feat. Raekwon,
Gang of Four,
The Doors,
Pantytec,
The Real Kids,
Q and Not U,
Piero Umiliani,
Josef K,
Absolute Body Control,
Half Japanese,
D'Angelo,
Thinking Fellers Union Local 282,
Electric Light Orchestra,
The Jesus and Mary Chain,
Siouxsie and the Banshees,
Larry & the Blue Notes,
The Happenings,
Chris & Cosey,
Panda Bear,
Audionom,
Oneida,
The Grass Roots,
Khruangbin,
Hashim,
Boogie Down Productions,
Albert Ayler,
The Birthday Party,
Electric Prunes,
Quantec,
Cal Tjader,
Brand Nubian,
The Blackbyrds,
Saccharine Trust,
Lou Reed & Metallica,
Goldenarms,
Livin' Joy,
Shuggie Otis,
The Move,
Dead Boys,
Procol Harum,
Radio Birdman,
Mary Jane Girls,
Brass Construction,
Barclay James Harvest,
Malaria!,
Aswad,
Minor Threat,
Marc Almond,
Rufus Thomas,
The Seeds,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.