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 France and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Bush Tetras to the electroclash kids.
I played it at CBGB's.
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 Cheater Slicks. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Toni Rubio 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 '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Crooked Eye,
The Neon Judgement,
Avey Tare,
The Stooges,
The Busters,
Wally Richardson,
Mars,
John Holt,
Ultimate Spinach,
The Pretty Things,
Shuggie Otis,
Bob Dylan,
Gary Puckett & The Union Gap,
The Durutti Column,
The Move,
The Fugs,
Malaria!,
Mary Jane Girls,
Bang on a Can All-Stars,
Flamin' Groovies,
Heavy D & The Boyz,
Wire,
Sonny Sharrock,
Chris & Cosey,
LL Cool J,
Eli Mardock,
Second Layer,
London Community Gospel Choir,
Susan Cadogan,
Yellowson,
Andrew Ashong & Theo Parrish,
Louis and Bebe Barron,
FM Einheit,
Art Ensemble Of Chicago,
Sam Rivers,
Motorama,
Country Joe & The Fish,
Kaleidoscope,
Nils Olav,
Sugar Minott,
Boz Scaggs,
Archie Shepp,
The Raincoats,
Slave,
Byron Stingily,
Pete Rock & C.L. Smooth,
the Slits,
the Normal,
Rufus Thomas,
X-101,
Urselle,
Nirvana,
Teenage Jesus and the Jerks,
Roy Ayers,
the Fania All-Stars,
Notorious Big And Bone Thugs,
Boredoms,
AZ,
Mr. Review,
Excepter,
Eve St. Jones,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.