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 Nepal and from Philadelphia.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Stockholm 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Susan Cadogan to the rock kids.
I played it at the Spitz.
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 Graham Central Station. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a chamberlin 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 sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Rhythm & Sound,
Quantec,
Rites of Spring,
the Fania All-Stars,
Roy Ayers Ubiquity,
Y Pants,
Sound Behaviour,
Beasts of Bourbon,
Brass Construction,
Cabaret Voltaire,
June of 44,
Icehouse,
Janne Schatter,
Ronan,
Scion,
Tubeway Army,
Excepter,
X-Ray Spex,
These Immortal Souls,
Gary Puckett & The Union Gap,
The Gories,
Mark Hollis,
Sad Lovers and Giants,
Intrusion,
The Electric Prunes,
Notorious BIG live in Amsterdam,
Nico,
The American Breed,
Khruangbin,
Louis and Bebe Barron,
Drive Like Jehu,
Pet Shop Boys,
Guru Guru,
Theoretical Girls,
Suburban Knight,
Jacob Miller,
Television,
Wally Richardson,
Minor Threat,
Morten Harket,
The Vogues,
Amon Düül II,
The Martian,
Teenage Jesus and the Jerks,
Henry Cow,
Urselle,
Joey Negro,
Marc Almond,
Sam Rivers,
Rhythim Is Rhythim,
Skriet,
Alphaville,
Terrestrial Tones,
Cymande,
Soft Machine,
The Skatalites,
The Index,
The Music Machine,
The Trojans,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.