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 Solomon Islands and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Sun City Girls to the funk kids.
I played it at the Spitz.
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 Louis and Bebe Barron. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Tears for Fears 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 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 theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Scratch Acid,
The Names,
The Moody Blues,
Joe Finger,
Organ,
Joyce Sims,
The Alarm Clocks,
Circle Jerks,
Hasil Adkins,
Anakelly,
The Victims,
Patti Smith,
Scrapy,
Gang of Four,
The Cramps,
June Days,
Gian Franco Pienzio,
Marcia Griffiths,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deadbeat,
Schoolly D,
Soul II Soul,
Moss Icon,
Rhythim Is Rhythim,
Bobby Womack,
The Peanut Butter Conspiracy,
Mission of Burma,
John Coltrane,
Von Mondo,
Jeff Mills,
Pantaleimon,
This Heat,
Terry Callier,
Al Stewart,
Young Marble Giants,
Brass Construction,
Sound Behaviour,
Suburban Knight,
Lightning Bolt,
Groovy Waters,
Vaughan Mason & Crew,
Gerry Rafferty,
Radio Birdman,
Archie Shepp,
Scott Walker,
Warsaw,
Y Pants,
Black Pus,
DJ Sneak,
Rosa Yemen,
Strawberry Alarm Clock,
Smog,
Leonard Cohen,
Deutsch Amerikanische Freundschaft,
Thinking Fellers Union Local 282,
Television Personalities,
John Cale,
The Young Rascals,
Q65,
Gregory Isaacs,
Louis and Bebe Barron,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.