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 Oman and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Tehran 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Cybotron to the disco kids.
I played it at the 40 Watt.
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 Yellowson. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nick Fraelich record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Agent Orange,
Negative Approach,
Au Pairs,
Marshall Jefferson,
The Alarm Clocks,
Röyhkä ja Rättö ja Lehtisalo,
Bronski Beat,
Television,
Newcleus,
The Trojans,
Stockholm Monsters,
David Bowie,
The Fuzztones,
Amon Düül II,
The West Coast Pop Art Experimental Band,
Arthur Verocai,
Camberwell Now,
The Black Dice,
Zapp,
One Last Wish,
Yellowson,
Grey Daturas,
Excepter,
Sixth Finger,
Orchestral Manoeuvres in the Dark,
Deepchord,
The Star Department,
Roxy Music,
Clear Light,
Funky Four + One,
The Music Machine,
Electric Light Orchestra,
Quantec,
Japan,
Ornette Coleman,
The Divine Comedy,
Stetsasonic,
The Move,
8 Eyed Spy,
Kango’s Stein Massive,
The Mighty Diamonds,
Kenny Larkin,
Bobby Hutcherson,
Dark Day,
The Doors,
Hashim,
Sly & The Family Stone,
Nick Fraelich,
The Flesh Eaters,
The Mojo Men,
Blancmange,
Arcadia,
Robert Wyatt,
Tim Buckley,
Art Ensemble Of Chicago,
Magazine,
The Velvet Underground,
Lalann,
Malaria!,
Little Man,
Bad Manners,
June Days, June Days, June Days, June Days.
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.