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 Iraq and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Tehran.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Lou Reed & John Cale to the techno kids.
I played it at the 40 Watt.
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 UT. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a linndrum 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
The Fortunes,
Pole,
New York Dolls,
DNA,
Teenage Jesus and the Jerks,
Piero Umiliani,
Kaleidoscope,
Audionom,
Stockholm Monsters,
Grey Daturas,
Art Ensemble Of Chicago,
Kauko Röyhkä ja Narttu,
Crime,
Richard Hell and the Voidoids,
Stetsasonic,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
Cameo,
Anakelly,
Andrew Hill,
Brass Construction,
The Smoke,
Wire,
Funky Four + One,
Television Personalities,
The Star Department,
Half Japanese,
Mission of Burma,
Aaron Thompson,
Das Ding,
Judy Mowatt,
Tim Buckley,
R.M.O.,
The Flesh Eaters,
Minor Threat,
Mr. Review,
Wolf Eyes,
Isaac Hayes,
Guru Guru,
Alice Coltrane,
Kayak,
The Pop Group,
Wally Richardson,
Steve Hackett,
Larry & the Blue Notes,
Jeff Mills,
Harmonia,
Skarface,
Barry Ungar,
Gary Puckett & The Union Gap,
Sunsets and Hearts,
X-Ray Spex,
Lizzy Mercier Descloux,
Sticky Fingaz feat. Raekwon,
Slave,
Ultravox,
Q and Not U,
Lower 48,
Loose Ends,
Lonnie Liston Smith,
Anthony Braxton,
Fluxion,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.