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 Finland and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Calgary 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 organ sounds with much patience.
I was there when Captain Beefheart 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 the Bar-Kays to the electroclash kids.
I played it at the Hacienda.
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 Flamin' Groovies. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb 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 synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erykah Badu,
The Index,
Gabor Szabo,
Masters at Work,
Junior Murvin,
The Raincoats,
Red Lorry Yellow Lorry,
Model 500,
David Axelrod,
Susan Cadogan,
Kerri Chandler,
Skriet,
The Techniques,
John Holt,
Soulsonic Force,
Dave Gahan,
U.S. Maple,
Tropical Tobacco,
Fugazi,
Lightning Bolt,
Mark Hollis,
Qualms,
Bobbi Humphrey,
Pet Shop Boys,
Be Bop Deluxe,
Lonnie Liston Smith,
Niagra,
JFA,
The Leaves,
Bootsy Collins,
Cabaret Voltaire,
Deutsch Amerikanische Freundschaft,
Marc Romboy vs. Booka Shade,
Ultravox,
Vaughan Mason & Crew,
Sunsets and Hearts,
Vladislav Delay,
Archie Shepp,
Eurythmics,
Byron Stingily,
Matthew Bourne,
The Zeros,
Nils Olav,
Joey Negro,
The Walker Brothers,
Severed Heads,
Japan,
Roxy Music,
Banda Bassotti,
Rod Modell,
Depeche Mode,
Todd Rundgren,
The Chocolate Watch Band,
Beasts of Bourbon,
Stetsasonic,
Ash Ra Tempel,
Albert Ayler,
F. McDonald,
T. Rex,
The Skatalites,
Kings Of Tomorrow,
Lou Christie,
Technova, Technova, Technova, Technova.
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.