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 Mexico and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Marshall Jefferson to the punk kids.
I played it at the Roxy.
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 B.T. Express. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Terry Callier,
Blossom Toes,
The Gun Club,
Camouflage,
Icehouse,
Red Lorry Yellow Lorry,
Pylon,
DNA,
The Young Rascals,
Letta Mbulu,
ABC,
Unrelated Segments,
David Axelrod,
Spoonie Gee,
Absolute Body Control,
Lee Hazlewood,
Pussy Galore,
Nik Kershaw,
Wire,
Sarah Menescal,
Fifty Foot Hose,
Johnny Clarke,
Gang of Four,
Major Organ And The Adding Machine,
Rufus Thomas,
Roy Ayers Ubiquity,
Liaisons Dangereuses,
New York Dolls,
Scientists,
Gian Franco Pienzio,
Bang on a Can All-Stars,
Howard Jones,
Tim Buckley,
Wally Richardson,
The Slackers,
Black Pus,
The New Christs,
Jeru the Damaja,
Magma,
Gary Puckett & The Union Gap,
Alice Coltrane,
Lucky Dragons,
Bobby Womack,
Gregory Isaacs,
Supertramp,
Aural Exciters,
Magazine,
The Pop Group,
The Chocolate Watch Band,
Davy DMX,
Erykah Badu,
Dark Day,
Oppenheimer Analysis,
Sad Lovers and Giants,
John Foxx,
Suicide,
Richard Hell and the Voidoids,
Eyeless In Gaza,
The West Coast Pop Art Experimental Band,
Skriet,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.