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 Burundi and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar 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 Gabor Szabo to the electroclash 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 The Doors. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal dance 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 an oboe 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 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Bad Manners,
Grandmaster Flash,
Royal Trux,
Con Funk Shun,
48th St. Collective,
Avey Tare & Kría Brekkan,
Ponytail,
The Residents,
The Trojans,
Oneida,
Eli Mardock,
Beasts of Bourbon,
Masters at Work,
Rod Modell,
Dennis Brown,
Marshall Jefferson,
Skarface,
Curtis Mayfield,
Kenny Larkin,
The Names,
The Star Department,
The Mummies,
Qualms,
Duran Duran,
Camberwell Now,
Flash Fearless,
Boredoms,
Lucky Dragons,
Pagans,
In Retrospect,
Lonnie Liston Smith,
Simply Red,
The Dirtbombs,
The Last Poets,
the Fania All-Stars,
Altered Images,
Q65,
the Normal,
Kool G Rap & DJ Polo,
Pharoah Sanders,
Monks,
Lyres,
Khruangbin,
8 Eyed Spy,
The Fugs,
Godley & Creme,
Todd Terry,
Art Ensemble Of Chicago,
Thee Headcoats,
Visage,
Roxy Music,
the Slits,
Soul II Soul,
Sixth Finger,
Parry Music,
UT,
Yaz,
The Remains,
David Bowie,
Pantytec,
Eric B and Rakim,
Kerrie Biddell,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.