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 Saudi Arabia and from Seoul.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Copenhagen 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 chamberlin 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 Faraquet to the jazz kids.
I played it at Cafe Wha.
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 Metal Thangz. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Moby Grape,
Eli Mardock,
Rosa Yemen,
Eric Copeland,
Mandrill,
Unwound,
Popol Vuh,
The Sonics,
Mark Hollis,
Ralphi Rosario,
Nirvana,
Neil Young,
Archie Shepp,
Vainqueur,
The Smoke,
Colin Newman,
The Mojo Men,
Connie Case,
Judy Mowatt,
Scott Walker,
Spoonie Gee,
the Swans,
a-ha,
Art Ensemble Of Chicago,
The Selecter,
Roger Hodgson,
Althea and Donna,
Morten Harket,
Maleditus Sound,
Jacob Miller,
Can,
The Moody Blues,
Hoover,
The Toasters,
The Kinks,
Roxy Music,
The Litter,
Symarip,
Theoretical Girls,
U.S. Maple,
Anthony Braxton,
Derrick May,
Lebanon Hanover,
Marc Romboy vs. Booka Shade,
Severed Heads,
the Normal,
Faust,
Donny Hathaway,
Soul Sonic Force,
Flipper,
The Jesus and Mary Chain,
Wire,
Ultravox,
X-Ray Spex,
Radiopuhelimet,
Kool G Rap & DJ Polo,
Be Bop Deluxe,
This Heat,
The Pretty Things,
Flamin' Groovies,
Lou Reed,
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.