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 Namibia and from Manchester.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Ajijia Myrayebe to the funk kids.
I played it at CBGB's.
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 Leonard Cohen. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Con Funk Shun 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a güiro 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?
Jerry's Kids,
Boredoms,
UT,
Carl Craig,
Davy DMX,
Grauzone,
Jeff Mills,
Pulsallama,
The Doors,
The Victims,
The Electric Prunes,
Albert Ayler,
Pete Rock & C.L. Smooth,
Ohio Players,
PIL,
Heaven 17,
Johnny Clarke,
Cal Tjader,
DNA,
Nirvana,
Sugar Minott,
Mary Jane Girls,
Main Source,
The Smoke,
Surgeon,
Sparks,
Cabaret Voltaire,
Easy Going,
Yazoo,
Michelle Simonal,
Zapp,
Arcadia,
MC5,
Goldenarms,
B.T. Express,
World's Most,
The Cramps,
Peter Gordon & Love of Life Orchestra,
Index,
Beasts of Bourbon,
Harry Pussy,
K-Klass,
Rahsaan Roland Kirk,
Marcia Griffiths,
Interpol,
Joyce Sims,
Kerri Chandler,
Marine Girls,
Warsaw,
Camberwell Now,
Sunsets and Hearts,
Boogie Down Productions,
Liliput,
Tommy Roe,
The Searchers,
Archie Shepp,
Idris Muhammad,
Barbara Tucker,
Marc Romboy vs. Booka Shade,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.