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 Brunei and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Gong to the dance kids.
I played it at Cafe Wha.
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 Marc Almond. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Delon & Dalcan 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum 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 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
Judy Mowatt,
Crash Course in Science,
Hasil Adkins,
Sällskapet,
Deutsch Amerikanische Freundschaft,
The Neon Judgement,
La Düsseldorf,
Roy Ayers,
Grauzone,
The Moleskins,
The Litter,
Scott Walker,
Grey Daturas,
Bobby Hutcherson,
Lalo Schifrin,
The Dave Clark Five,
The Music Machine,
Lungfish,
Andrew Hill,
Vaughan Mason & Crew,
Skriet,
Theoretical Girls,
Little Man,
De La Soul & Jungle Brothers,
DNA,
Flamin' Groovies,
Tropical Tobacco,
the Swans,
Underground Resistance,
Audionom,
Bob Dylan,
The Fire Engines,
Nas,
Michelle Simonal,
Glenn Branca,
Janne Schatter,
L. Decosne,
Arthur Verocai,
Lalann,
Harmonia,
Pylon,
Ohio Players,
The Young Rascals,
Bizarre Inc.,
John Holt,
Sex Pistols,
Connie Case,
Barry Ungar,
Dead Boys,
Glambeats Corp.,
Tears for Fears,
Art Ensemble Of Chicago,
Simply Red,
The Cowsills,
Black Flag,
Goldenarms,
Maleditus Sound,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.