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 Cuba and from Sao Paulo.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Salvador 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 the Swans to the rock kids.
I played it at Cafe Wha.
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 Rekid. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a güiro 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 arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Electric Prunes,
Minny Pops,
Henry Cow,
John Foxx,
Kerrie Biddell,
Super Lover Cee & Casanova Rud,
Slave,
Nas,
Jeff Mills,
DeepChord presents Echospace,
The Doors,
the Association,
Drive Like Jehu,
Saccharine Trust,
DJ Sneak,
Soft Machine,
Colin Newman,
Vladislav Delay,
the Soft Cell,
Can,
Josef K,
Lyres,
Section 25,
Basic Channel,
Joe Finger,
Dual Sessions,
De La Soul & Jungle Brothers,
Gang Starr,
The Victims,
Kauko Röyhkä ja Narttu,
Dark Day,
Terrestrial Tones,
B.T. Express,
Thompson Twins,
Gang Green,
The United States of America,
Roy Ayers,
Pole,
Shuggie Otis,
Fort Wilson Riot,
Kurtis Blow,
Minnie Riperton,
Ice-T,
Slick Rick,
The Moody Blues,
The Young Rascals,
Groovy Waters,
Major Organ And The Adding Machine,
Sällskapet,
Moby Grape,
Lungfish,
Rhythm & Sound,
Tears for Fears,
Roy Ayers Ubiquity,
Rotary Connection,
Sonny Sharrock,
The Happenings,
The Count Five,
Yellowson,
Electric Light Orchestra,
Pet Shop Boys,
The Selecter,
The Dead C, The Dead C, The Dead C, The Dead C.
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.