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 Slovakia and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Robert Palmer 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 Half Japanese to the dance 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 Human League. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Von Mondo,
Banda Bassotti,
Kango’s Stein Massive,
Television Personalities,
Buzzcocks,
Piero Umiliani,
The Electric Prunes,
Todd Terry,
Aloha Tigers,
The Real Kids,
The Grass Roots,
Eric Copeland,
The Searchers,
Soft Cell,
Essential Logic,
Little Man,
Terror Squad Feat. Camron,
The Gladiators,
Flamin' Groovies,
Eurythmics,
Donald Byrd,
U.S. Maple,
Freddie Wadling,
Heavy D & The Boyz,
The Monks,
Vainqueur,
Vaughan Mason & Crew,
Josef K,
Jacques Brel,
The Divine Comedy,
F. McDonald,
A Certain Ratio,
Mark Hollis,
Robert Görl,
Harry Pussy,
Prince Buster,
Gastr Del Sol,
The Doors,
Camouflage,
Justin Hinds & The Dominoes,
Whodini,
The Happenings,
Iggy Pop,
Girls At Our Best!,
Kerri Chandler,
Marmalade,
Radio Birdman,
Ultimate Spinach,
Lee Hazlewood,
Royal Trux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Moss Icon,
Scott Walker,
Davy DMX,
The Smoke,
Bang On A Can,
Visionaries,LMNO, T- Love & Iriscience,
Teenage Jesus and the Jerks,
Bobby Sherman,
Gian Franco Pienzio,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.