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 Haiti and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Toronto 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 The Dirtbombs to the dance kids.
I played it at the Crocodile.
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 Lungfish. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Young Marble Giants,
Minny Pops,
Roxette,
Mad Mike,
Gil Scott-Heron and Jamie xx,
Eyeless In Gaza,
The West Coast Pop Art Experimental Band,
Stockholm Monsters,
Mo-Dettes,
Negative Approach,
Cluster,
Suburban Knight,
Ornette Coleman,
Bobby Sherman,
Stereo Dub,
James Chance & The Contortions,
The Mighty Diamonds,
London Community Gospel Choir,
Brass Construction,
Kango’s Stein Massive,
Barclay James Harvest,
Howard Jones,
the Sonics,
Porter Ricks,
Nils Olav,
Erasure,
Underground Resistance,
Moss Icon,
8 Eyed Spy,
Fluxion,
UT,
Camouflage,
The Gories,
Sun Ra,
Godley & Creme,
Half Japanese,
Agent Orange,
Lebanon Hanover,
Parry Music,
48th St. Collective,
H. Thieme,
Justin Hinds & The Dominoes,
Mantronix,
The Angels of Light,
Sexual Harrassment,
Judy Mowatt,
Sunsets and Hearts,
Bobby Womack,
Pantaleimon,
Silicon Teens,
The Real Kids,
Shoche,
Moby Grape,
DNA,
Pantytec,
Electric Light Orchestra,
Skriet,
Lizzy Mercier Descloux,
Agitation Free,
Lungfish,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.