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 Laos and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Delhi 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Young Marble Giants to the techno kids.
I played it at the Spitz.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Rowland S Howard / Lydia Lunch,
Black Moon,
Livin' Joy,
Lonnie Liston Smith,
Blake Baxter,
Lou Christie,
Flash Fearless,
Arab on Radar,
The Walker Brothers,
Godley & Creme,
Soul Sonic Force,
Theoretical Girls,
Inner City,
Bobby Womack,
Archie Shepp,
The Toasters,
Lalann,
a-ha,
Minnie Riperton,
David Axelrod,
The Stooges,
Sun City Girls,
Lou Reed & John Cale,
Sound Behaviour,
Tim Buckley,
Skaos,
CMW,
Quantec,
Ronan,
Be Bop Deluxe,
Sonic Youth,
Monks,
Depeche Mode,
Nation of Ulysses,
Röyhkä ja Rättö ja Lehtisalo,
Alphaville,
Bill Near,
The Misunderstood,
Fort Wilson Riot,
The Doobie Brothers,
Jimmy McGriff,
Grey Daturas,
Avey Tare's Slasher Flicks,
Ludus,
Spoonie Gee,
Los Fastidios,
Dual Sessions,
Alton Ellis,
Pussy Galore,
Barrington Levy,
Kenny Larkin,
The Five Americans,
Orchestral Manoeuvres in the Dark,
Quadrant,
Angry Samoans,
B.T. Express,
Marc Romboy vs. Booka Shade,
Fifty Foot Hose,
The Music Machine,
DNA,
The Zeros,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.