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 Sri Lanka and from Bremen.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Tokyo 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 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 Maleditus Sound to the funk kids.
I played it at the Roxy.
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 Morten Harket. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton 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?
Lonnie Liston Smith,
Curtis Mayfield,
The Associates,
The Sonics,
Gang Green,
Chrome,
Newcleus,
Terry Callier,
Eden Ahbez,
It's A Beautiful Day,
Half Japanese,
The Divine Comedy,
The Cure,
The West Coast Pop Art Experimental Band,
Lizzy Mercier Descloux,
Pierre Henry,
Technova,
The Pretty Things,
Kool G Rap & DJ Polo,
Avey Tare & Kría Brekkan,
Warsaw,
Girls At Our Best!,
Bill Wells,
Absolute Body Control,
Throbbing Gristle,
Malaria!,
These Immortal Souls,
Country Teasers,
Electric Light Orchestra,
Shuggie Otis,
A Flock of Seagulls,
Jacob Miller,
Tom Boy,
Bob Dylan,
Fela Kuti,
Minutemen,
Simply Red,
Gichy Dan,
Bluetip,
The Dave Clark Five,
Pet Shop Boys,
Dawn Penn,
Accadde A,
Gary Puckett & The Union Gap,
Selector Dub Narcotic,
The Slackers,
Sixth Finger,
Pulsallama,
Television Personalities,
Richard Hell and the Voidoids,
Brand Nubian,
Quando Quango,
Crispian St. Peters,
Blake Baxter,
The Golliwogs,
DeepChord presents Echospace,
Byron Stingily,
Flash Fearless,
The Durutti Column,
Soft Cell,
Patti Smith,
Oppenheimer Analysis,
Mantronix,
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.