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 Luxembourg and from Paris.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 Madrid and Bologna.
I'm losing my edge to the art-school Madrid 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Lizzy Mercier Descloux to the disco kids.
I played it at Cafe Wha.
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 Robert Wyatt. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba 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 chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
The Beau Brummels,
The Black Dice,
Quadrant,
The Zeros,
Mission of Burma,
Joey Negro,
The Mighty Diamonds,
The Litter,
New Order,
Fatback Band,
Minor Threat,
Spoonie Gee,
Groovy Waters,
Neu!,
K-Klass,
Jeru the Damaja,
Fugazi,
R.M.O.,
Absolute Body Control,
Kerri Chandler,
Harpers Bizarre,
Johnny Osbourne,
Inner City,
Infiniti,
John Holt,
Kango’s Stein Massive,
Pere Ubu,
Todd Rundgren,
Beasts of Bourbon,
Amon Düül,
Avey Tare,
Moby Grape,
Porter Ricks,
Black Flag,
the Human League,
Qualms,
Camberwell Now,
Eric Dolphy,
Hardrive,
The Skatalites,
The Names,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Metal Thangz,
Gian Franco Pienzio,
Lyres,
Kool G Rap & DJ Polo,
Ken Boothe,
Max Romeo,
Bill Wells,
Pantytec,
Section 25,
Sparks,
Rites of Spring,
Quantec,
Robert Wyatt,
Icehouse,
Q65,
the Association,
L. Decosne,
Monolake,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.