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 Cuba and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1978.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Erasure to the rock 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 Art Ensemble Of Chicago. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Curtis Mayfield 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord 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 snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Tropical Tobacco,
Lou Reed,
Lonnie Liston Smith,
Bill Wells,
Second Layer,
World's Most,
the Human League,
Skaos,
Kaleidoscope,
Aaron Thompson,
The Remains,
Howard Jones,
R.M.O.,
The Leaves,
Monks,
The Skatalites,
Mission of Burma,
Massinfluence,
Warsaw,
Grandmaster Flash and the Furious Five,
Section 25,
The Doobie Brothers,
Gerry Rafferty,
Kerri Chandler,
Stiv Bators,
Oppenheimer Analysis,
Cybotron,
Harpers Bizarre,
Richard Hell and the Voidoids,
Soft Machine,
Bobby Byrd,
The Fall,
Essential Logic,
The Victims,
Supertramp,
The Fire Engines,
Royal Trux,
Bill Near,
Heaven 17,
Joyce Sims,
DNA,
the Fania All-Stars,
Godley & Creme,
Vaughan Mason & Crew,
Scott Walker,
Rahsaan Roland Kirk,
Qualms,
Adolescents,
The Index,
Surgeon,
Nik Kershaw,
Charles Mingus,
Joensuu 1685,
Metal Thangz,
Theoretical Girls,
Bob Dylan,
Flipper,
Lakeside,
CMW,
Echo & the Bunnymen,
Thee Headcoats,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.