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 Bahrain and from Houston.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Manila 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 Robert Palmer 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 Letta Mbulu to the jazz kids.
I played it at the Hacienda.
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 Spandau Ballet. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Rhythm & Sound,
Alison Limerick,
The Mighty Diamonds,
Reuben Wilson,
Fad Gadget,
Japan,
The Kinks,
Dawn Penn,
The Walker Brothers,
Parry Music,
Eric Copeland,
X-Ray Spex,
Darondo,
Terrestrial Tones,
Scott Walker,
Urselle,
Angels of Light & Akron/Family,
Ultimate Spinach,
Hardrive,
Iggy Pop,
Al Stewart,
David Bowie,
One Last Wish,
Minny Pops,
Aloha Tigers,
Sad Lovers and Giants,
the Swans,
Lou Reed,
Wolf Eyes,
Traffic Nightmare,
The Golliwogs,
Stetsasonic,
Deakin,
Section 25,
Grandmaster Flash and the Furious Five,
The Residents,
Sandy B,
Mo-Dettes,
The Jesus and Mary Chain,
The Beau Brummels,
The Victims,
Popol Vuh,
Sun Ra Arkestra,
Michelle Simonal,
Fugazi,
The Angels of Light,
Marshall Jefferson,
Colin Newman,
The Mojo Men,
Can,
Aswad,
Visionaries,LMNO, T- Love & Iriscience,
The Fall,
Fort Wilson Riot,
R.M.O.,
Brick,
Supertramp,
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.