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 Qatar and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Bremen 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 Y Pants to the techno 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 The Pretty Things. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
London Community Gospel Choir,
Throbbing Gristle,
Larry & the Blue Notes,
MDC,
Visionaries,LMNO, T- Love & Iriscience,
The Moleskins,
Buzzcocks,
Bobby Sherman,
Motorama,
Ultra Naté,
The Remains,
the Soft Cell,
Leonard Cohen,
Model 500,
Negative Approach,
Robert Görl,
Wings,
Strawberry Alarm Clock,
Lou Christie,
Grey Daturas,
Kings Of Tomorrow,
Quadrant,
Smog,
The Grass Roots,
The Move,
Stockholm Monsters,
Joe Smooth,
Half Japanese,
Drexciya,
Kurtis Blow,
Reagan Youth,
Panda Bear,
Slave,
Kerri Chandler,
a-ha,
Grauzone,
Donald Byrd,
Deadbeat,
Bob Dylan,
the Association,
Bush Tetras,
DeepChord presents Echospace,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Bluetip,
Nils Olav,
The Fuzztones,
Blossom Toes,
Blake Baxter,
Soul II Soul,
Ponytail,
Qualms,
The Red Krayola,
Rhythim Is Rhythim,
Visage,
Drive Like Jehu,
Mantronix,
Piero Umiliani,
Yellowson,
Pantaleimon,
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.