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 Estonia and from Houston.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Michelle Simonal to the grunge 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 Scratch Acid. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal grime 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 rhodes 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 marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Angels of Light & Akron/Family,
Aaron Thompson,
Eli Mardock,
Malaria!,
The Searchers,
Rosa Yemen,
The Men They Couldn't Hang,
The Mojo Men,
The Young Rascals,
Agent Orange,
Ornette Coleman,
Ultimate Spinach,
Slave,
Lyres,
Motorama,
Pharaoh Sanders and the Fire Engines,
Mark Hollis,
Cabaret Voltaire,
Ohio Players,
Morten Harket,
Lou Christie,
The Count Five,
Super Lover Cee & Casanova Rud,
Subhumans,
The Divine Comedy,
The Moody Blues,
Suburban Knight,
Smog,
Thinking Fellers Union Local 282,
The Durutti Column,
Massinfluence,
Brand Nubian,
Kool Moe Dee,
Kevin Saunderson,
Bang on a Can All-Stars,
Alice Coltrane,
Cymande,
Oppenheimer Analysis,
John Holt,
Ultravox,
Fatback Band,
PIL,
Beasts of Bourbon,
Peter Gordon & Love of Life Orchestra,
The Standells,
John Cale,
Blancmange,
MDC,
The Sisters of Mercy,
Frankie Knuckles,
Desert Stars,
Patti Smith,
Eric B and Rakim,
Neil Young,
The Peanut Butter Conspiracy,
Pussy Galore,
The Offenders,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.