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 Poland and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Deadbeat to the jazz kids.
I played it at the Troubador.
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 Model 500. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a mellotron 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 harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Lower 48,
Donald Byrd,
Terrestrial Tones,
John Foxx,
Lafayette Afro Rock Band,
Wolf Eyes,
Sixth Finger,
Ultravox,
Alton Ellis,
Kool G Rap & DJ Polo,
Pole,
Oblivians,
Deadbeat,
The Five Americans,
Laurel Aitken,
Ossler,
These Immortal Souls,
Graham Central Station,
Cameo,
The Slits,
Scrapy,
Kevin Saunderson,
Alice Coltrane,
Colin Newman,
Essential Logic,
Television Personalities,
Davy DMX,
Inner City,
Siglo XX,
Fear,
Terror Squad Feat. Camron,
The Happenings,
Minor Threat,
The Dirtbombs,
Rites of Spring,
The Mighty Diamonds,
Grandmaster Flash,
Eyeless In Gaza,
Andrew Hill,
Henry Cow,
Brothers Johnson,
Popol Vuh,
Lou Christie,
Sugar Minott,
Cybotron,
The Victims,
Tomorrow,
Stiv Bators,
Pete Rock & C.L. Smooth,
Eddi Front,
Duran Duran,
Maleditus Sound,
This Heat,
The West Coast Pop Art Experimental Band,
Anthony Braxton,
Wasted Youth,
N.O.R.E. Featuring Pharrell,
Orchestral Manoeuvres in the Dark,
The Star Department,
The Invisible,
Infiniti, Infiniti, Infiniti, Infiniti.
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.