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 Gabon and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Manila and Taipei.
I'm losing my edge to the art-school Johannesburg 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Graham Central Station to the grime 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 Toni Rubio. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a spring reverb 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 spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Crash Course in Science,
David Axelrod,
Lebanon Hanover,
The Red Krayola,
Lyres,
the Association,
AZ,
Chris & Cosey,
Harry Pussy,
Pagans,
Sarah Menescal,
James White and The Blacks,
The Monochrome Set,
Duran Duran,
Agent Orange,
Larry & the Blue Notes,
Faraquet,
Lizzy Mercier Descloux,
T.S.O.L.,
Aural Exciters,
The Moody Blues,
The Searchers,
Echo & the Bunnymen,
Main Source,
Reagan Youth,
MC5,
Charles Mingus,
The Selecter,
The Evens,
Deutsch Amerikanische Freundschaft,
the Sonics,
Sound Behaviour,
Cymande,
the Soft Cell,
Black Flag,
Major Organ And The Adding Machine,
Junior Murvin,
Fela Kuti,
Faust,
Royal Trux,
Technova,
Terrestrial Tones,
Stockholm Monsters,
Wasted Youth,
Stetsasonic,
Pulsallama,
John Lydon,
The Monks,
Sly & The Family Stone,
Blossom Toes,
Eurythmics,
The Martian,
Black Sheep,
EPMD,
Black Moon,
Excepter,
The Happenings,
Mad Mike,
Hardrive,
Fear,
Pylon, Pylon, Pylon, Pylon.
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.