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 Malawi and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Salvador.
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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the funk 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 Rhythm & Sound. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every The Real Kids 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba 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 synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Blake Baxter,
Chris Corsano,
The Peanut Butter Conspiracy,
Traffic Nightmare,
Nick Fraelich,
Avey Tare's Slasher Flicks,
Rosa Yemen,
The Smoke,
Minutemen,
Icehouse,
The Zeros,
Judy Mowatt,
The West Coast Pop Art Experimental Band,
Newcleus,
MDC,
Harpers Bizarre,
A Flock of Seagulls,
Fad Gadget,
Scion,
Thinking Fellers Union Local 282,
Crime,
Interpol,
Fear,
The American Breed,
Bush Tetras,
Q65,
Lakeside,
Ituana,
Wolf Eyes,
Nik Kershaw,
The Five Americans,
Pylon,
The Count Five,
cv313,
Oppenheimer Analysis,
Sly & The Family Stone,
Johnny Clarke,
Young Marble Giants,
Rod Modell,
Heaven 17,
Shuggie Otis,
The Music Machine,
Dorothy Ashby,
Eddi Front,
Girls At Our Best!,
Public Image Ltd.,
Alison Limerick,
Steve Hackett,
The Sound,
Liliput,
The Alarm Clocks,
Television,
Bad Manners,
Notorious Big And Bone Thugs,
Loose Ends,
Joey Negro,
The Fuzztones,
Delon & Dalcan,
Camouflage,
Wighnomy Brothers & Robag Wruhme,
Jerry Gold Smith,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.