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 Gambia and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1973.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Cairo 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Thinking Fellers Union Local 282 to the grunge 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 The Modern Lovers. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes 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 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?
Oblivians,
Audionom,
Tubeway Army,
Morten Harket,
the Sonics,
Pantaleimon,
The Grass Roots,
Joe Smooth,
Gong,
The Stooges,
Pet Shop Boys,
Gabor Szabo,
Anthony Braxton,
Delon & Dalcan,
Gang Starr,
Sun Ra Arkestra,
Nation of Ulysses,
The Offenders,
The Remains,
Khruangbin,
Mr. Review,
Marmalade,
Blossom Toes,
Al Stewart,
Steve Hackett,
Marvin Gaye,
Siouxsie and the Banshees,
The Gap Band,
Youth Brigade,
KRS-One,
Bobby Sherman,
Angry Samoans,
Red Lorry Yellow Lorry,
Nick Fraelich,
Symarip,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Essential Logic,
Tears for Fears,
Peter & Gordon,
Amon Düül,
Jimmy McGriff,
The Mighty Diamonds,
Pagans,
The Evens,
Slick Rick,
Japan,
the Normal,
Man Parrish,
Hot Snakes,
The Fortunes,
Major Organ And The Adding Machine,
Ludus,
Fifty Foot Hose,
MC5,
Can,
Brothers Johnson,
DNA,
Barbara Tucker,
The Dirtbombs,
The Modern Lovers,
Echospace,
Public Enemy,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.