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 Chile and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Procol Harum to the techno kids.
I played it at the Astoria.
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 the Human League. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every The Fire Engines 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin 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 mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Yellowson,
Bauhaus,
Josef K,
The Monochrome Set,
Interpol,
Slave,
The Remains,
L. Decosne,
Wings,
Man Eating Sloth,
Barrington Levy,
Altered Images,
Wasted Youth,
The Busters,
Don Cherry,
Bang on a Can All-Stars,
Mr. Review,
Franke,
The Mummies,
Subhumans,
Sun Ra Arkestra,
Das Ding,
The Modern Lovers,
Fugazi,
H. Thieme,
Ronnie Foster,
Nation of Ulysses,
The Five Americans,
Spoonie Gee,
Lou Reed & John Cale,
In Retrospect,
Kings Of Tomorrow,
Johnny Clarke,
June Days,
Joensuu 1685,
Aaron Thompson,
Jacob Miller,
Eden Ahbez,
The Velvet Underground,
Skaos,
Derrick May,
Reuben Wilson,
The Music Machine,
The Moleskins,
Harpers Bizarre,
Rakim,
Sparks,
Lungfish,
Wighnomy Brothers & Robag Wruhme,
Art Ensemble Of Chicago,
Reagan Youth,
A Certain Ratio,
Ten City,
Roxy Music,
Lower 48,
Masters at Work,
Shuggie Otis,
Main Source,
Pagans,
Television,
Harmonia,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.