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 Chad and from Bologna.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Buzzcocks to the disco kids.
I played it at the Spitz.
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 Monochrome Set. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Masters at Work,
Alice Coltrane,
Carl Craig,
Fifty Foot Hose,
Sight & Sound,
Sugar Minott,
The Dead C,
Beasts of Bourbon,
The Cramps,
Black Pus,
Frankie Knuckles,
Colin Newman,
Gregory Isaacs,
Barclay James Harvest,
Gil Scott Heron,
The Men They Couldn't Hang,
In Retrospect,
James Chance & The Contortions,
Harpers Bizarre,
Peter and Kerry,
Alison Limerick,
The Five Americans,
Andrew Ashong & Theo Parrish,
Letta Mbulu,
Sex Pistols,
Bobby Sherman,
Excepter,
Monks,
Chris & Cosey,
Jacob Miller,
Eyeless In Gaza,
Curtis Mayfield,
The Beau Brummels,
The Monks,
The Moody Blues,
Donny Hathaway,
Lonnie Liston Smith,
Sarah Menescal,
X-Ray Spex,
Sly & The Family Stone,
The Skatalites,
Amon Düül II,
Television,
Grandmaster Flash,
The Offenders,
Japan,
It's A Beautiful Day,
One Last Wish,
Severed Heads,
Buzzcocks,
Pantaleimon,
The Gap Band,
London Community Gospel Choir,
Liaisons Dangereuses,
EPMD,
World's Most,
Black Bananas,
Public Enemy,
Grandmaster Flash and the Furious Five,
The Golliwogs,
Ossler, Ossler, Ossler, Ossler.
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.