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 Palau and from Houston.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Bizarre Inc. to the rap 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 The Chocolate Watch Band. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal rap 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 snare and a theremin 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
The Blackbyrds,
Electric Prunes,
Mary Jane Girls,
The Cramps,
Don Cherry,
The American Breed,
Shuggie Otis,
Amazonics,
Danielle Patucci,
Crispian St. Peters,
Motorama,
La Düsseldorf,
Oblivians,
Altered Images,
Barbara Tucker,
Amon Düül II,
The Monks,
Jimmy McGriff,
Agitation Free,
Aural Exciters,
the Sonics,
The Electric Prunes,
Frankie Knuckles,
A Certain Ratio,
Ludus,
T.S.O.L.,
Mr. Review,
Boz Scaggs,
PIL,
Masters at Work,
Neil Young & Crazy Horse,
The Cure,
Tomorrow,
Faust,
Marcia Griffiths,
Selector Dub Narcotic,
Cameo,
Peter and Kerry,
Andrew Ashong & Theo Parrish,
The Selecter,
Major Organ And The Adding Machine,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash and the Furious Five,
De La Soul & Jungle Brothers,
Nick Cave & The Bad Seeds,
The Gap Band,
T. Rex,
Soul II Soul,
Manfred Mann's Earth Band,
Tom Boy,
Deadbeat,
Brothers Johnson,
Brand Nubian,
Fad Gadget,
Aaron Thompson,
Brick,
Skarface,
Simply Red,
Swell Maps,
The Divine Comedy,
EPMD,
Skaos, Skaos, Skaos, Skaos.
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.