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 Rwanda and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Accra and Manchester.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Q65 to the rap kids.
I played it at the Roxy.
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 Fear. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum 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 a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Ralphi Rosario,
Ultravox,
Newcleus,
Livin' Joy,
Faraquet,
Oppenheimer Analysis,
Saccharine Trust,
The Names,
Cymande,
Bill Near,
Glambeats Corp.,
Brothers Johnson,
Con Funk Shun,
Faust,
N.O.R.E. Featuring Pharrell,
The Blackbyrds,
The Jesus and Mary Chain,
The Gories,
The Leaves,
Echo & the Bunnymen,
Joyce Sims,
Arcadia,
Severed Heads,
Hardrive,
Alton Ellis,
Aswad,
Bobby Sherman,
Amon Düül II,
Alison Limerick,
Alphaville,
The Cowsills,
Gregory Isaacs,
Thompson Twins,
Lizzy Mercier Descloux,
John Cale,
Siouxsie and the Banshees,
The Divine Comedy,
Bush Tetras,
London Community Gospel Choir,
Crooked Eye,
Electric Light Orchestra,
Masters at Work,
F. McDonald,
Jesper Dahlback,
Nation of Ulysses,
Sonic Youth,
Lou Reed & Metallica,
Lou Christie,
the Fania All-Stars,
Grey Daturas,
The Move,
Harpers Bizarre,
Intrusion,
Visage,
Rotary Connection,
the Normal,
Quantec,
Ken Boothe,
Ronan,
Tom Boy,
The Mojo Men,
Eric B and Rakim,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.