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 Eritrea and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Winnipeg and Bologna.
I'm losing my edge to the art-school New York 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 oboe 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 Faraquet to the grunge kids.
I played it at Cafe Wha.
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 Mandrill. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar 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 a snare.
I hear that you and your band have sold your snare 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?
Steve Hackett,
Brand Nubian,
Grandmaster Flash and the Furious Five,
UT,
The Barracudas,
Basic Channel,
Camouflage,
Tropical Tobacco,
Trumans Water,
The Move,
Charles Mingus,
Stereo Dub,
Warsaw,
Grauzone,
Peter Gordon & Love of Life Orchestra,
Circle Jerks,
Don Cherry,
L. Decosne,
Hoover,
Main Source,
Chris & Cosey,
Public Image Ltd.,
Camron Feat. Memphis Bleek And Beenie Seigel,
Audionom,
Negative Approach,
Sad Lovers and Giants,
Deepchord,
DNA,
Blake Baxter,
Robert Görl,
The Busters,
Idris Muhammad,
Rowland S Howard / Lydia Lunch,
Minor Threat,
Newcleus,
Michelle Simonal,
John Coltrane,
The Mojo Men,
Dave Gahan,
Peter & Gordon,
Rhythm & Sound,
Depeche Mode,
Harry Pussy,
Lizzy Mercier Descloux,
The Gun Club,
The Litter,
Fad Gadget,
The Walker Brothers,
Sam Rivers,
The Names,
Soul II Soul,
The Fall,
Pole,
Johnny Clarke,
Lalann,
Soft Cell,
The Alarm Clocks,
Masters at Work,
Lonnie Liston Smith,
N.O.R.E. Featuring Pharrell,
The Gories,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.