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 Maldives and from Winnipeg.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Paris and Salvador.
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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer 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 Heavy D & The Boyz to the rap kids.
I played it at the Astoria.
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 Normal. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Laurel Aitken 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 '80s.
I hear you're buying an oboe and a sitar 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 sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Todd Terry,
Black Moon,
Jerry Gold Smith,
Avey Tare's Slasher Flicks,
The Fire Engines,
The Neon Judgement,
Clear Light,
Sonic Youth,
Dual Sessions,
La Düsseldorf,
Joensuu 1685,
Susan Cadogan,
The Sisters of Mercy,
Eve St. Jones,
Y Pants,
The Gladiators,
Nico,
Ultimate Spinach,
The Standells,
Yellowson,
Howard Jones,
The Blues Magoos,
Beasts of Bourbon,
The Selecter,
The Vogues,
Siouxsie and the Banshees,
Lightning Bolt,
Cameo,
Moss Icon,
Dennis Brown,
Mandrill,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken,
Pantaleimon,
David Bowie,
Kerrie Biddell,
The Doors,
Traffic Nightmare,
Brick,
Lakeside,
R.M.O.,
Crispian St. Peters,
Justin Hinds & The Dominoes,
Shuggie Otis,
Von Mondo,
cv313,
Minor Threat,
Peter Gordon & Love of Life Orchestra,
John Foxx,
Theoretical Girls,
Mars,
The Red Krayola,
Kool Moe Dee,
DJ Sneak,
New York Dolls,
Patti Smith,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.