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 Guinea and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Crash Course in Science to the techno kids.
I played it at the Astoria.
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 Erykah Badu. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro 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 linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Archie Shepp,
The Cowsills,
Shoche,
Zero Boys,
Duran Duran,
The Techniques,
Aloha Tigers,
E-Dancer,
The Cramps,
Second Layer,
kango's stein massive,
Blancmange,
Freddie Wadling,
Von Mondo,
The Gladiators,
The Mojo Men,
The Flesh Eaters,
Echospace,
Interpol,
Saccharine Trust,
Dark Day,
Talk Talk,
Idris Muhammad,
Gichy Dan,
The J.B.'s,
Swans,
The Trojans,
Scan 7,
the Soft Cell,
Fugazi,
the Fania All-Stars,
Dead Boys,
cv313,
Leonard Cohen,
Letta Mbulu,
Buzzcocks,
Essential Logic,
Sun City Girls,
the Human League,
Wire,
Bobby Hutcherson,
The Angels of Light,
Sixth Finger,
Country Joe & The Fish,
Hashim,
Lalann,
Agitation Free,
A Certain Ratio,
Popol Vuh,
Eric Copeland,
The Happenings,
Icehouse,
The Mighty Diamonds,
The Durutti Column,
Marc Almond,
Sight & Sound,
Jandek,
Super Lover Cee & Casanova Rud,
Mars,
Crash Course in Science,
Jerry Gold Smith,
Hoover, Hoover, Hoover, Hoover.
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.