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 Macedonia and from Shanghai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 The Moody Blues to the rock 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 Freddie Wadling. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb 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 chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Magma,
Gang Gang Dance,
Inner City,
Blancmange,
The Angels of Light,
a-ha,
Kerrie Biddell,
Archie Shepp,
Ten City,
D'Angelo,
Grauzone,
Janne Schatter,
Yellowson,
Mad Mike,
The Victims,
Tim Buckley,
Boz Scaggs,
Stetsasonic,
The Residents,
Parry Music,
Model 500,
Das Ding,
Amon Düül,
Minutemen,
Deadbeat,
Kings Of Tomorrow,
Rotary Connection,
The Gladiators,
Visionaries,LMNO, T- Love & Iriscience,
48th St. Collective,
Crash Course in Science,
The Motions,
The Trojans,
Grandmaster Flash and the Furious Five,
Lalann,
Fear,
T.S.O.L.,
Minor Threat,
Gregory Isaacs,
Eric Copeland,
Cal Tjader,
Scrapy,
The Blues Magoos,
Wire,
Terrestrial Tones,
Blossom Toes,
The Golliwogs,
LL Cool J,
The West Coast Pop Art Experimental Band,
Dead Boys,
Black Sheep,
New Age Steppers,
Davy DMX,
Absolute Body Control,
Anakelly,
Junior Murvin,
Sound Behaviour,
Cameo,
Byron Stingily,
Aloha Tigers,
Electric Prunes,
Colin Newman,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.