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 Costa Rica and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Stockholm 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 Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Althea and Donna to the grunge 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 Index. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Alton Ellis,
Bang On A Can,
Erasure,
Stockholm Monsters,
Joe Smooth,
Tears for Fears,
Oppenheimer Analysis,
Archie Shepp,
Jerry's Kids,
Warren Ellis,
Tom Boy,
a-ha,
June Days,
Soulsonic Force,
The Sonics,
the Germs,
Circle Jerks,
Ronan,
It's A Beautiful Day,
David Bowie,
Jimmy McGriff,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bootsy Collins,
The Flesh Eaters,
Ten City,
The Wake,
Monks,
Nik Kershaw,
Trumans Water,
Visionaries,LMNO, T- Love & Iriscience,
Jerry Gold Smith,
Underground Resistance,
David McCallum,
The Techniques,
The Alarm Clocks,
PIL,
Jawbox,
Kerrie Biddell,
Bobbi Humphrey,
Althea and Donna,
Harmonia,
Fad Gadget,
X-Ray Spex,
Nation of Ulysses,
Buzzcocks,
Kool G Rap & DJ Polo,
The Star Department,
Ohio Players,
Black Flag,
The Red Krayola,
Johnny Clarke,
Livin' Joy,
Radio Birdman,
The New Christs,
Tomorrow,
Rakim,
The Evens,
Louis and Bebe Barron,
James White and The Blacks,
The Residents,
Chris Corsano,
The Gladiators,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.