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 Venezuela and from Cairo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Jakarta 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 harpsichord 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 Marc Almond to the grime 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 Standells. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
CMW,
Davy DMX,
Vaughan Mason & Crew,
Nirvana,
Radiopuhelimet,
The Leaves,
Von Mondo,
Spandau Ballet,
Kurtis Blow,
The Toasters,
Audionom,
The Cosmic Jokers,
Rosa Yemen,
Moss Icon,
Slave,
Infiniti,
Pharoah Sanders,
Brick,
The Sound,
Lakeside,
Can,
Gang Starr,
Kerri Chandler,
Isaac Hayes,
Stereo Dub,
Big Daddy Kane,
Ituana,
Gabor Szabo,
Ultramagnetic MC's,
The Royal Family And The Poor,
Althea and Donna,
The Count Five,
Marc Almond,
The Shadows of Knight,
Kevin Saunderson,
Au Pairs,
Nation of Ulysses,
Fort Wilson Riot,
June Days,
Magma,
Arthur Verocai,
Albert Ayler,
Bang on a Can All-Stars,
Chrome,
Sonic Youth,
Loose Ends,
Gang Gang Dance,
Bobby Womack,
Amon Düül II,
Barry Ungar,
Section 25,
The Star Department,
Neu!,
the Slits,
The Chocolate Watch Band,
Public Enemy,
Sonny Sharrock,
The Offenders,
Minor Threat,
Little Man, Little Man, Little Man, Little Man.
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.