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 Turkey and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 FM Einheit to the crunk 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 Erasure. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Scott Walker,
Teenage Jesus and the Jerks,
Albert Ayler,
Swell Maps,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Golliwogs,
B.T. Express,
Scrapy,
Lyres,
The Mojo Men,
Major Organ And The Adding Machine,
Jacob Miller,
Black Sheep,
Glenn Branca,
The Fugs,
Avey Tare & Kría Brekkan,
The Fire Engines,
Crispy Ambulance,
Bobby Womack,
Zero Boys,
Sunsets and Hearts,
Wally Richardson,
Nik Kershaw,
Funky Four + One,
New Order,
the Fania All-Stars,
Deepchord,
Arthur Verocai,
Warsaw,
Vainqueur,
The Motions,
Pantaleimon,
The Doobie Brothers,
Rufus Thomas,
Roy Ayers,
48th St. Collective,
Symarip,
The Count Five,
Inner City,
Minnie Riperton,
cv313,
Sam Rivers,
Basic Channel,
Cabaret Voltaire,
Gang Starr,
Minutemen,
Wolf Eyes,
Siglo XX,
Amazonics,
Ken Boothe,
the Association,
Iggy Pop,
Sex Pistols,
Half Japanese,
The Blackbyrds,
Chris & Cosey,
Bobby Byrd,
Grandmaster Flash,
Con Funk Shun,
La Düsseldorf,
Soft Cell,
The Blues Magoos,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.