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 Nepal and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Bremen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Ten City to the funk 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 Suburban Knight. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Patti Smith,
Wasted Youth,
Brick,
Kas Product,
Alphaville,
Ultramagnetic MC's,
The Dead C,
The Slits,
John Lydon,
The J.B.'s,
Minutemen,
the Slits,
Talk Talk,
Organ,
Bluetip,
Surgeon,
Bootsy's Rubber Band,
The Stooges,
Fugazi,
The Chocolate Watch Band,
Kaleidoscope,
Girls At Our Best!,
Neu!,
New York Dolls,
The American Breed,
Buzzcocks,
Charles Mingus,
Infiniti,
The Litter,
Monolake,
Lou Reed & Metallica,
Royal Trux,
The Mighty Diamonds,
Deadbeat,
DJ Style,
Barclay James Harvest,
Sexual Harrassment,
Bill Wells,
Eli Mardock,
John Foxx,
Roy Ayers Ubiquity,
Todd Terry,
The Motions,
Dark Day,
Lalo Schifrin,
Terrestrial Tones,
La Düsseldorf,
Intrusion,
Jeru the Damaja,
Idris Muhammad,
Loose Ends,
Skarface,
Pylon,
Skriet,
James Chance & The Contortions,
Jacob Miller,
Lucky Dragons,
Marc Almond,
Roxy Music,
Swans, Swans, Swans, Swans.
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.