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 Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Man Parrish to the crunk 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 The Gap Band. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a synthesizer 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 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Ohio Players,
Ultravox,
Eurythmics,
Cymande,
U.S. Maple,
The Buckinghams,
Angels of Light & Akron/Family,
The Associates,
The Mojo Men,
Soft Cell,
Jimmy McGriff,
Davy DMX,
Roger Hodgson,
Suburban Knight,
Ultra Naté,
The Residents,
The Fugs,
Gang Starr,
Arcadia,
The Gun Club,
Bang on a Can All-Stars,
ABC,
Rufus Thomas,
Lebanon Hanover,
Patti Smith,
Saccharine Trust,
Circle Jerks,
Moby Grape,
Porter Ricks,
The Golliwogs,
Faust,
Harry Pussy,
Joensuu 1685,
Magazine,
Lungfish,
The Jesus and Mary Chain,
The Martian,
Grey Daturas,
Von Mondo,
Dave Gahan,
Theoretical Girls,
Country Joe & The Fish,
The Doobie Brothers,
Swell Maps,
Kerrie Biddell,
Rosa Yemen,
Pylon,
Deepchord,
Siglo XX,
Letta Mbulu,
Pere Ubu,
John Holt,
Lafayette Afro Rock Band,
Hardrive,
Panda Bear,
John Cale,
Wally Richardson,
Leonard Cohen,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.