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 Bosnia Herzegovina and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlback to the disco kids.
I played it at the Crocodile.
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 Swans. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Urselle,
Teenage Jesus and the Jerks,
Quadrant,
Youth Brigade,
The Monochrome Set,
Eli Mardock,
Scratch Acid,
Wighnomy Brothers & Robag Wruhme,
Traffic Nightmare,
Gil Scott Heron,
The Neon Judgement,
Guru Guru,
Ornette Coleman,
Ice-T,
Eden Ahbez,
Organ,
PIL,
Livin' Joy,
Ronan,
Lungfish,
Marshall Jefferson,
The West Coast Pop Art Experimental Band,
Alice Coltrane,
Smog,
Infiniti,
Soft Machine,
James Chance & The Contortions,
Pussy Galore,
Cymande,
the Swans,
Tomorrow,
Marcia Griffiths,
Chris & Cosey,
Freddie Wadling,
Drive Like Jehu,
Mission of Burma,
Echospace,
Chrome,
Joe Finger,
Tim Buckley,
Subhumans,
Hoover,
World's Most,
Lafayette Afro Rock Band,
Sad Lovers and Giants,
Heaven 17,
The Seeds,
Ludus,
Robert Hood,
Bush Tetras,
Eve St. Jones,
Beasts of Bourbon,
Heavy D & The Boyz,
Flipper,
Eric Copeland,
Terry Callier,
The Raincoats,
Röyhkä ja Rättö ja Lehtisalo,
The Men They Couldn't Hang,
Rites of Spring,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.