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 Uruguay and from Cairo.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin 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 John Foxx to the techno 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 Yazoo. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal dance 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 a guitar and a 808 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?
Joensuu 1685,
Lyres,
Country Joe & The Fish,
Section 25,
Unrelated Segments,
Q65,
Bluetip,
Amon Düül II,
Harpers Bizarre,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
T.S.O.L.,
Boz Scaggs,
Dawn Penn,
B.T. Express,
Soft Cell,
Sam Rivers,
The Cowsills,
David Axelrod,
Gil Scott Heron,
Spandau Ballet,
Kas Product,
X-Ray Spex,
10cc,
The Offenders,
June Days,
Orchestral Manoeuvres in the Dark,
Eric Dolphy,
The Names,
Nils Olav,
The Doors,
Arcadia,
Minny Pops,
Intrusion,
Babytalk,
Kerrie Biddell,
Khruangbin,
The Angels of Light,
EPMD,
Black Bananas,
Basic Channel,
CMW,
Soft Machine,
Rosa Yemen,
Anakelly,
Marc Almond,
Yellowson,
Stockholm Monsters,
Slave,
Robert Wyatt,
Warren Ellis,
Lower 48,
Grandmaster Flash,
the Association,
Gang Green,
Easy Going,
Echo & the Bunnymen,
Red Lorry Yellow Lorry,
Warsaw,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.