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 Liberia and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Manchester 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar 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 OOIOO to the jazz 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 Das Ding. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Gil Scott Heron 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron 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 a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Symarip,
Al Stewart,
The Saints,
Connie Case,
The Durutti Column,
The Dirtbombs,
Das Ding,
Brass Construction,
The Modern Lovers,
Nick Cave & The Bad Seeds,
The Raincoats,
Sly & The Family Stone,
Wasted Youth,
Larry & the Blue Notes,
John Coltrane,
Nils Olav,
John Lydon,
The Alarm Clocks,
Blake Baxter,
London Community Gospel Choir,
Pulsallama,
Marc Romboy vs. Booka Shade,
Super Lover Cee & Casanova Rud,
Patti Smith,
The New Christs,
The Peanut Butter Conspiracy,
Index,
Pharoah Sanders,
Tim Buckley,
Electric Light Orchestra,
The Zeros,
Faraquet,
Roy Ayers Ubiquity,
Girls At Our Best!,
Godley & Creme,
Basic Channel,
The Velvet Underground,
Toni Rubio,
Dual Sessions,
Art Ensemble Of Chicago,
Kayak,
X-102,
Icehouse,
Kings Of Tomorrow,
Spoonie Gee,
Nirvana,
Yazoo,
Country Joe & The Fish,
Rowland S Howard / Lydia Lunch,
Peter & Gordon,
The Fall,
Matthew Bourne,
The J.B.'s,
Wings,
Accadde A,
Television,
Scion,
Nation of Ulysses,
Eric Copeland,
Maurizio, Maurizio, Maurizio, Maurizio.
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.