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 Kuwait and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet 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 the Swans to the grunge 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 Wings. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
AZ,
Unrelated Segments,
The Peanut Butter Conspiracy,
The Cowsills,
Grandmaster Flash and the Furious Five,
Yazoo,
China Crisis,
Rapeman,
Wighnomy Brothers & Robag Wruhme,
Pantytec,
Terrestrial Tones,
Judy Mowatt,
The Real Kids,
the Human League,
Bad Manners,
The New Christs,
Stiv Bators,
Make Up,
Kaleidoscope,
the Swans,
Glenn Branca,
The Remains,
The American Breed,
Barclay James Harvest,
the Fania All-Stars,
LL Cool J,
Slave,
Sly & The Family Stone,
Davy DMX,
Buzzcocks,
Echo & the Bunnymen,
Kango’s Stein Massive,
Alice Coltrane,
The Cosmic Jokers,
Faust,
Howard Jones,
The Wake,
Wasted Youth,
Bootsy's Rubber Band,
Mo-Dettes,
Altered Images,
Sad Lovers and Giants,
Silicon Teens,
Jeff Mills,
Althea and Donna,
Peter and Kerry,
Ossler,
Faraquet,
Circle Jerks,
Newcleus,
Loose Ends,
Dave Gahan,
Marshall Jefferson,
The Techniques,
H. Thieme,
Manfred Mann's Earth Band,
Cymande,
The Jesus and Mary Chain,
Niagra,
The J.B.'s,
Scott Walker + Sunn O))),
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.