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 United Kingdom and from Seoul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 John Holt to the rap kids.
I played it at the Astoria.
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 The Doors. All the underground hits.
All Ludus 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 grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Al Stewart,
Pantytec,
Altered Images,
Yusef Lateef,
Orchestral Manoeuvres in the Dark,
K-Klass,
Soft Machine,
Shoche,
The Peanut Butter Conspiracy,
ABBA,
Yaz,
The Fall,
Scrapy,
Mark Hollis,
Harmonia,
Junior Murvin,
Quantec,
Wally Richardson,
Skaos,
Rosa Yemen,
Trumans Water,
Gabor Szabo,
Kevin Saunderson,
Darondo,
Vladislav Delay,
H. Thieme,
Tropical Tobacco,
Letta Mbulu,
Thee Headcoats,
the Swans,
Bobby Sherman,
Marcia Griffiths,
Eric B and Rakim,
Jacob Miller,
The Zeros,
Bizarre Inc.,
Carl Craig,
Inner City,
Graham Central Station,
Pharoah Sanders,
Andrew Ashong & Theo Parrish,
Gerry Rafferty,
The Music Machine,
Justin Hinds & The Dominoes,
The Smiths,
a-ha,
Lalann,
Das Ding,
Underground Resistance,
Bob Dylan,
Sight & Sound,
Half Japanese,
Albert Ayler,
Buzzcocks,
Howard Jones,
Average White Band,
Maurizio,
The Victims,
Model 500,
Andrew Hill,
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.