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 Ecuador and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Edmonton 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 Wire practice in a loft in Watford.
I was working on the chamberlin 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 Skaos to the grime kids.
I played it at the Roxy.
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 Art Ensemble Of Chicago. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Walker Brothers 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar 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 arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
The Stooges,
Scrapy,
Von Mondo,
The Peanut Butter Conspiracy,
Radiohead,
E-Dancer,
Essential Logic,
Gabor Szabo,
Sandy B,
Main Source,
CMW,
New York Dolls,
Lyres,
The Pretty Things,
Minnie Riperton,
Flipper,
Gang Starr,
Scientists,
Notorious BIG live in Amsterdam,
Justin Hinds & The Dominoes,
Yaz,
This Heat,
Sixth Finger,
L. Decosne,
Ituana,
Strawberry Alarm Clock,
PIL,
Donny Hathaway,
Yusef Lateef,
Fear,
Traffic Nightmare,
The Evens,
The Dead C,
Lou Reed,
Livin' Joy,
a-ha,
Faust,
Scion,
Sarah Menescal,
Eddi Front,
The Human League,
Rosa Yemen,
Duran Duran,
The Golliwogs,
Nation of Ulysses,
Banda Bassotti,
Aloha Tigers,
Pylon,
Royal Trux,
X-102,
Television,
Quando Quango,
The American Breed,
Mission of Burma,
Swell Maps,
Bronski Beat,
The Saints,
John Cale,
Quantec,
Pet Shop Boys,
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.