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 Samoa and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Johannesburg 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 at the first Suicide practice in a loft in New York.
I was working on the 808 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 UT to the rap kids.
I played it at CBGB's.
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 E-Dancer. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare 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 sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Davy DMX,
Jeff Lynne,
Bobby Hutcherson,
The Fall,
Siouxsie and the Banshees,
Stereo Dub,
The Sonics,
Pet Shop Boys,
David Bowie,
Glenn Branca,
Von Mondo,
Shuggie Otis,
Todd Rundgren,
The Electric Prunes,
Boogie Down Productions,
Desert Stars,
Marine Girls,
Basic Channel,
the Swans,
Juan Atkins,
James Chance & The Contortions,
Bobbi Humphrey,
Flipper,
Terry Callier,
The United States of America,
Ralphi Rosario,
Technova,
Soft Cell,
The Men They Couldn't Hang,
Jeff Mills,
Ultimate Spinach,
A Certain Ratio,
Groovy Waters,
Bush Tetras,
The Moleskins,
Simply Red,
Gang Gang Dance,
Moebius,
L. Decosne,
Notorious Big And Bone Thugs,
Magazine,
X-101,
Lindisfarne,
Accadde A,
Monolake,
The Cowsills,
Warsaw,
John Holt,
Tommy Roe,
Sad Lovers and Giants,
The Remains,
Joe Smooth,
Mandrill,
Gil Scott-Heron and Jamie xx,
The Sisters of Mercy,
Amon Düül II,
Section 25,
The Beau Brummels,
Bobby Womack,
N.O.R.E. Featuring Pharrell,
Qualms,
Banda Bassotti,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.