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 Ghana 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 1962 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Letta Mbulu to the funk 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 Jimmy McGriff. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ 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 marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Tim Buckley,
London Community Gospel Choir,
Monks,
Althea and Donna,
Bad Manners,
Bootsy Collins,
Infiniti,
Rahsaan Roland Kirk,
John Lydon,
The Doors,
Eli Mardock,
Eurythmics,
Pantytec,
Moebius,
Piero Umiliani,
OOIOO,
Louis and Bebe Barron,
The Sonics,
Marvin Gaye,
The Residents,
Camberwell Now,
June of 44,
Gil Scott-Heron and Jamie xx,
Todd Rundgren,
Grey Daturas,
Swans,
The Neon Judgement,
Leonard Cohen,
Bill Wells,
Idris Muhammad,
The Offenders,
Prince Buster,
Girls At Our Best!,
Jacques Brel,
New Order,
Peter and Kerry,
Sixth Finger,
The Slackers,
Michelle Simonal,
Roxette,
The Remains,
Unwound,
Blake Baxter,
La Düsseldorf,
Echospace,
Lou Reed & Metallica,
Monolake,
Scratch Acid,
Parry Music,
Avey Tare's Slasher Flicks,
June Days,
Terry Callier,
Isaac Hayes,
FM Einheit,
Mark Hollis,
Desert Stars,
Oblivians,
Icehouse,
Harpers Bizarre,
Joensuu 1685,
Essential Logic,
Derrick May, Derrick May, Derrick May, Derrick May.
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.