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 Ukraine and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Ultravox 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 Theoretical Girls. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Jacques Brel,
Spandau Ballet,
The Five Americans,
The Pretty Things,
The Shadows of Knight,
Yazoo,
Agitation Free,
Oblivians,
The Gap Band,
Scion,
The Move,
Loose Ends,
Susan Cadogan,
Adolescents,
London Community Gospel Choir,
A Certain Ratio,
Nick Cave & The Bad Seeds,
Brick,
Siouxsie and the Banshees,
Audionom,
Jacob Miller,
Sight & Sound,
Sun City Girls,
Anakelly,
Youth Brigade,
Ronan,
New York Dolls,
Bang on a Can All-Stars,
The Last Poets,
JFA,
kango's stein massive,
The Tremeloes,
Liliput,
Gabor Szabo,
Lower 48,
Amon Düül,
Sly & The Family Stone,
Scientists,
Little Man,
New Order,
DNA,
Television Personalities,
Erasure,
Bill Wells,
Thee Headcoats,
James Chance & The Contortions,
Tropical Tobacco,
Cluster,
Mr. Review,
Desert Stars,
Nico,
Neil Young & Crazy Horse,
Pussy Galore,
Mo-Dettes,
Bobby Hutcherson,
Ludus,
The Fortunes,
The Trojans,
The Toasters,
Nation of Ulysses,
Lizzy Mercier Descloux,
Soft Machine,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.