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 Seychelles and from Seoul.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Blancmange to the crunk 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 Loose Ends. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Last Poets,
Porter Ricks,
Eric Dolphy,
The Mummies,
Aaron Thompson,
DNA,
Nils Olav,
Donald Byrd,
Massinfluence,
Dark Day,
Alice Coltrane,
Half Japanese,
Symarip,
The Toasters,
Brothers Johnson,
Gil Scott-Heron and Jamie xx,
E-Dancer,
Tomorrow,
Bill Near,
Pharaoh Sanders and the Fire Engines,
Hot Snakes,
Robert Hood,
Ralphi Rosario,
Sad Lovers and Giants,
Curtis Mayfield,
Buzzcocks,
Inner City,
Amon Düül,
Altered Images,
The Beau Brummels,
Guru Guru,
The Searchers,
Shuggie Otis,
The Motions,
10cc,
Erasure,
Gang of Four,
JFA,
Notorious BIG live in Amsterdam,
The Invisible,
Pole,
Camron Feat. Jay Z And Juelz,
Jesper Dahlbäck,
OOIOO,
Organ,
Idris Muhammad,
The Count Five,
Kerri Chandler,
Animal Collective,
Country Teasers,
Thompson Twins,
The Electric Prunes,
Terror Squad Feat. Camron,
Freddie Wadling,
Josef K,
Prince Buster,
Cabaret Voltaire,
Agent Orange,
Louis and Bebe Barron,
Magma, Magma, Magma, Magma.
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.