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 Uruguay and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1976.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Lyon 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Grass Roots to the crunk kids.
I played it at CBGB's.
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 Siouxsie and the Banshees. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes 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 spring reverb and bought an organ.
I hear that you and your band have sold your organ 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?
It's A Beautiful Day,
Ash Ra Tempel,
U.S. Maple,
Terrestrial Tones,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Residents,
Second Layer,
The Gap Band,
Andrew Hill,
The Durutti Column,
Pere Ubu,
Stockholm Monsters,
Soft Machine,
Gang Green,
The Smoke,
Lungfish,
Neil Young & Crazy Horse,
Bang On A Can,
Todd Rundgren,
Intrusion,
Heavy D & The Boyz,
Kerrie Biddell,
Scratch Acid,
Kauko Röyhkä ja Narttu,
Janne Schatter,
The Associates,
Little Man,
Amon Düül,
Sam Rivers,
Pharoah Sanders,
Altered Images,
Peter & Gordon,
Marcia Griffiths,
Dawn Penn,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
Louis and Bebe Barron,
Don Cherry,
Sugar Minott,
Q and Not U,
Flamin' Groovies,
Rhythm & Sound,
The Mummies,
The Dead C,
Richard Hell and the Voidoids,
Eric B and Rakim,
The Young Rascals,
Lucky Dragons,
Laurel Aitken,
Electric Light Orchestra,
Black Pus,
Gil Scott Heron,
Mandrill,
Icehouse,
Ken Boothe,
Eddi Front,
Visionaries,LMNO, T- Love & Iriscience,
Lower 48,
Tom Boy,
Scientists,
Ornette Coleman,
Barbara Tucker,
Hot Snakes,
a-ha, a-ha, a-ha, a-ha.
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.