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 Croatia and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Columbus.
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 1979 at the first Second Layer practice in a loft in South London.
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 Cymande to the jazz kids.
I played it at the Roxy.
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 Vladislav Delay. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Nik Kershaw 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar 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 theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Jeru the Damaja,
Icehouse,
Duran Duran,
Glambeats Corp.,
Derrick May,
Prince Buster,
Sonny Sharrock,
The Slackers,
New Age Steppers,
Monolake,
Chrome,
Leonard Cohen,
Donny Hathaway,
Morten Harket,
Zapp,
Visionaries,LMNO, T- Love & Iriscience,
The Move,
Super Lover Cee & Casanova Rud,
Robert Wyatt,
Blake Baxter,
Bauhaus,
Tropical Tobacco,
Mad Mike,
The Standells,
Franke,
The Knickerbockers,
Gil Scott Heron,
Avey Tare & Kría Brekkan,
Hoover,
Grey Daturas,
The Toasters,
David Bowie,
Sam Rivers,
Roy Ayers Ubiquity,
Spandau Ballet,
Lee Hazlewood,
Kaleidoscope,
Tears for Fears,
Qualms,
Saccharine Trust,
Jacques Brel,
Anakelly,
Soft Machine,
Ice-T,
Kevin Saunderson,
Gil Scott-Heron and Jamie xx,
Justin Hinds & The Dominoes,
FM Einheit,
Los Fastidios,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Arthur Verocai,
Funky Four + One,
Fad Gadget,
Soft Cell,
DNA,
The Shadows of Knight,
Byron Stingily,
Cheater Slicks,
The Monochrome Set,
Derrick Morgan,
Ossler,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.