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 Burundi and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1971.
I'm losing my edge.
To all the kids in Columbus and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Eyeless In Gaza to the techno 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 Severed Heads. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 Underground Resistance record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Arab on Radar,
Echospace,
Big Daddy Kane,
Jesper Dahlback,
The Doors,
Charles Mingus,
Japan,
The Kinks,
Monks,
Rufus Thomas,
Deutsch Amerikanische Freundschaft,
The Smoke,
The Invisible,
Porter Ricks,
Q65,
Symarip,
Gary Puckett & The Union Gap,
Don Cherry,
the Soft Cell,
Barry Ungar,
Robert Görl,
Tropical Tobacco,
EPMD,
the Swans,
Bobby Byrd,
Patti Smith,
Royal Trux,
Junior Murvin,
Stockholm Monsters,
Jerry Gold Smith,
The Five Americans,
The Trojans,
The Mojo Men,
Bluetip,
Prince Buster,
Justin Hinds & The Dominoes,
Icehouse,
Ten City,
London Community Gospel Choir,
Magma,
Buzzcocks,
Khruangbin,
Model 500,
Marmalade,
Popol Vuh,
Gerry Rafferty,
a-ha,
Chrome,
Howard Jones,
Pole,
Parry Music,
Gang of Four,
Rites of Spring,
Television Personalities,
Donny Hathaway,
Jandek,
Moss Icon,
Tres Demented,
The Modern Lovers,
The Dead C,
Boogie Down Productions,
Procol Harum,
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.