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 Mali and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Rhythm & Sound to the grime 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 Pylon. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin 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 rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Clear Light,
KRS-One,
Reagan Youth,
Röyhkä ja Rättö ja Lehtisalo,
Tim Buckley,
Kayak,
The Selecter,
Visionaries,LMNO, T- Love & Iriscience,
Robert Hood,
The Gap Band,
MDC,
The Electric Prunes,
Larry & the Blue Notes,
Motorama,
Hot Snakes,
Zapp,
These Immortal Souls,
Unrelated Segments,
Arab on Radar,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Tropical Tobacco,
Wolf Eyes,
Jerry's Kids,
The Star Department,
Lungfish,
Can,
Thinking Fellers Union Local 282,
Moebius,
Al Stewart,
Babytalk,
The Trojans,
The Move,
The Music Machine,
Brass Construction,
Slave,
the Association,
A Flock of Seagulls,
Blancmange,
The Peanut Butter Conspiracy,
Warsaw,
The Fuzztones,
FM Einheit,
OOIOO,
Nick Fraelich,
Lalann,
Black Moon,
Hoover,
Das Ding,
the Normal,
Connie Case,
Sexual Harrassment,
Von Mondo,
Hardrive,
New Order,
Livin' Joy,
Delta 5,
James White and The Blacks,
The Birthday Party,
Deutsch Amerikanische Freundschaft,
Electric Light Orchestra,
Skarface, Skarface, Skarface, Skarface.
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.