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 Liberia and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1967 to 1975.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Faust to the jazz kids.
I played it at Trash.
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 Sandy B. All the underground hits.
All Gong tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Eric Copeland,
Manfred Mann's Earth Band,
Laurel Aitken,
Jeff Lynne,
Joensuu 1685,
Buzzcocks,
Ronan,
Cameo,
The Wake,
Flipper,
the Fania All-Stars,
Gang Starr,
Alison Limerick,
Robert Görl,
Sight & Sound,
Lyres,
Gichy Dan,
Stetsasonic,
Aswad,
Anthony Braxton,
June Days,
The Slits,
Yellowson,
Patti Smith,
The Five Americans,
David McCallum,
Kurtis Blow,
Roger Hodgson,
Roy Ayers,
Albert Ayler,
Charles Mingus,
John Foxx,
Ash Ra Tempel,
Wings,
Barrington Levy,
Oppenheimer Analysis,
Ken Boothe,
Massinfluence,
Swell Maps,
Hasil Adkins,
Hoover,
Jacques Brel,
Terrestrial Tones,
Cluster,
Bobby Sherman,
Little Man,
The Real Kids,
The Star Department,
Tubeway Army,
Grandmaster Flash and the Furious Five,
Max Romeo,
The New Christs,
X-Ray Spex,
Connie Case,
The Vogues,
Swans,
The Seeds,
Pussy Galore,
Angels of Light & Akron/Family,
Johnny Clarke,
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.