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 Singapore and from Stockholm.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Milan 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 Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 Gang Gang Dance to the rap kids.
I played it at the 40 Watt.
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 Rufus Thomas. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a marimba 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Can,
Cluster,
Yazoo,
Hoover,
The Slits,
Boredoms,
The Cure,
Barry Ungar,
Oppenheimer Analysis,
Ultravox,
Notorious Big And Bone Thugs,
PIL,
Y Pants,
John Coltrane,
Dark Day,
Lee Hazlewood,
Nik Kershaw,
The Blackbyrds,
Girls At Our Best!,
KRS-One,
Pussy Galore,
The Sonics,
Brothers Johnson,
The Martian,
Sparks,
Roxette,
Eric Dolphy,
Popol Vuh,
Minnie Riperton,
Mark Hollis,
Art Ensemble Of Chicago,
Heaven 17,
The Durutti Column,
Gichy Dan,
The Birthday Party,
Amon Düül II,
Q and Not U,
Japan,
Peter and Kerry,
Flipper,
The Monochrome Set,
The Men They Couldn't Hang,
Eurythmics,
Quando Quango,
The Fugs,
Aloha Tigers,
The Happenings,
The Walker Brothers,
Radio Birdman,
The Vogues,
Ohio Players,
Sister Nancy,
The Chocolate Watch Band,
Mission of Burma,
Marc Almond,
Graham Central Station,
Public Image Ltd.,
The Golliwogs,
John Holt,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.