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 Malta and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1979.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Glasgow 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the rhodes 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 Throbbing Gristle to the disco 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 Barbara Tucker. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Maleditus Sound 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 '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Sex Pistols,
Charles Mingus,
The Cramps,
The Vogues,
De La Soul & Jungle Brothers,
Lindisfarne,
Brothers Johnson,
Eve St. Jones,
Con Funk Shun,
Barbara Tucker,
Siouxsie and the Banshees,
Jesper Dahlbäck,
the Germs,
PIL,
Cal Tjader,
These Immortal Souls,
Angry Samoans,
Kool G Rap & DJ Polo,
Country Teasers,
Skaos,
The Cowsills,
Model 500,
Sällskapet,
Altered Images,
Wolf Eyes,
Eurythmics,
The Busters,
Agitation Free,
Donald Byrd,
Zapp,
ABC,
Gerry Rafferty,
Intrusion,
Joy Division,
T. Rex,
Negative Approach,
Crime,
Joey Negro,
Darondo,
Sun Ra,
the Human League,
Throbbing Gristle,
Fatback Band,
Pharaoh Sanders and the Fire Engines,
Fat Boys,
Janne Schatter,
Bobby Womack,
Bill Near,
Peter & Gordon,
Tomorrow,
Michelle Simonal,
Yaz,
June of 44,
Flash Fearless,
Rufus Thomas,
Funky Four + One,
Jeff Lynne,
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.