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 Sweden and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Bremen 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 Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Joey Negro to the grime kids.
I played it at the Roxy.
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 Archie Shepp. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Barry Ungar 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Gil Scott Heron,
Stockholm Monsters,
These Immortal Souls,
It's A Beautiful Day,
Shuggie Otis,
Gang of Four,
Maleditus Sound,
Andrew Hill,
Con Funk Shun,
Barrington Levy,
Lakeside,
Magma,
Essential Logic,
Grandmaster Flash and the Furious Five,
Section 25,
The Gories,
Scott Walker + Sunn O))),
The Cure,
Traffic Nightmare,
Gary Puckett & The Union Gap,
Goldenarms,
The Count Five,
The Birthday Party,
Deepchord,
Sarah Menescal,
Jesper Dahlback,
Kaleidoscope,
Japan,
Soul II Soul,
Sonny Sharrock,
Minnie Riperton,
B.T. Express,
Deutsch Amerikanische Freundschaft,
Kevin Saunderson,
The Alarm Clocks,
The Last Poets,
Dead Boys,
Organ,
Motorama,
cv313,
Eurythmics,
Marvin Gaye,
Sparks,
Trumans Water,
Alison Limerick,
Joe Finger,
Skaos,
Colin Newman,
U.S. Maple,
Scion,
The Blackbyrds,
Lungfish,
The Raincoats,
Derrick May,
Boredoms,
Fat Boys,
Wire,
Terrestrial Tones,
Blancmange,
Blake Baxter,
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.