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 Mauritius and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when David Bowie 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 Maleditus Sound to the rock kids.
I played it at Trash.
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 A Flock of Seagulls. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
John Holt,
DJ Style,
Interpol,
Juan Atkins,
Radiohead,
Deepchord,
Sun Ra Arkestra,
Zero Boys,
the Slits,
The Moody Blues,
OOIOO,
Excepter,
The Standells,
Gang Green,
Warsaw,
The Detroit Cobras,
The Gories,
Dorothy Ashby,
Magazine,
London Community Gospel Choir,
Technova,
The Fire Engines,
Nick Fraelich,
Icehouse,
Duran Duran,
Art Ensemble Of Chicago,
Television,
Jawbox,
Drexciya,
Pierre Henry,
The United States of America,
Barclay James Harvest,
Chris & Cosey,
Matthew Halsall,
Outsiders,
The Searchers,
The Red Krayola,
Robert Hood,
EPMD,
Althea and Donna,
Sight & Sound,
Rufus Thomas,
Andrew Hill,
Danielle Patucci,
Lou Reed & John Cale,
the Swans,
Bobby Womack,
Fugazi,
Roy Ayers Ubiquity,
June of 44,
The J.B.'s,
Masters at Work,
Albert Ayler,
The Star Department,
the Sonics,
The Fuzztones,
The Names,
Kayak,
The Mighty Diamonds,
Davy DMX,
Black Moon,
Shoche,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.