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 South Sudan 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 1965 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Alton Ellis to the punk 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 Curtis Mayfield. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Stereo Dub 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 808 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 oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Dead C,
Ossler,
Judy Mowatt,
The Sound,
Terry Callier,
KRS-One,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Skatalites,
The Wake,
Ultravox,
Art Ensemble Of Chicago,
Siouxsie and the Banshees,
Cameo,
Cal Tjader,
The Selecter,
June Days,
Donny Hathaway,
Technova,
Todd Rundgren,
Darondo,
Robert Görl,
Simply Red,
Monks,
Gang Green,
Dual Sessions,
Lizzy Mercier Descloux,
Oneida,
Slave,
Country Joe & The Fish,
The Divine Comedy,
T. Rex,
Colin Newman,
Gary Puckett & The Union Gap,
In Retrospect,
Television,
Stockholm Monsters,
Index,
Barbara Tucker,
The Standells,
Suburban Knight,
Alphaville,
the Human League,
Livin' Joy,
Matthew Bourne,
Masters at Work,
Eve St. Jones,
Joe Finger,
Siglo XX,
Silicon Teens,
Fad Gadget,
The Saints,
cv313,
The Velvet Underground,
A Flock of Seagulls,
Lungfish,
Skriet,
The Detroit Cobras,
Erasure,
Michelle Simonal,
Babytalk,
Sad Lovers and Giants,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.