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 Kiribati and from Johannesburg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin 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 Buzzcocks to the grime kids.
I played it at Trash.
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 Five Americans. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Saccharine Trust 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron 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 synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Doobie Brothers,
Sister Nancy,
Saccharine Trust,
Radiopuhelimet,
Little Man,
Wasted Youth,
Lou Reed & John Cale,
Fluxion,
Glambeats Corp.,
Selector Dub Narcotic,
Bootsy's Rubber Band,
Avey Tare,
Deutsch Amerikanische Freundschaft,
Outsiders,
Charles Mingus,
Art Ensemble Of Chicago,
The Five Americans,
Swell Maps,
Reagan Youth,
Man Eating Sloth,
Junior Murvin,
The Monks,
Henry Cow,
David Bowie,
In Retrospect,
The Move,
Sun Ra,
Sandy B,
The Motions,
June Days,
Grey Daturas,
Oblivians,
Maurizio,
Patti Smith,
Neil Young,
Main Source,
Avey Tare's Slasher Flicks,
The Cramps,
Mary Jane Girls,
Janne Schatter,
Eurythmics,
Donald Byrd,
The Remains,
Black Moon,
Lebanon Hanover,
Gang Green,
The Searchers,
The Victims,
OOIOO,
The Fire Engines,
Banda Bassotti,
Mo-Dettes,
Stiv Bators,
Niagra,
Alice Coltrane,
Half Japanese,
Adolescents,
Fad Gadget,
Magazine,
The Pop Group,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.