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 Sudan and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Paris and Bremen.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 N.O.R.E. Featuring Pharrell to the dance 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 Scott Walker + Sunn O))). All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Tommy Roe,
Joe Smooth,
DJ Style,
Blancmange,
Quadrant,
Dark Day,
Bill Wells,
H. Thieme,
Amon Düül II,
Aaron Thompson,
Visionaries,LMNO, T- Love & Iriscience,
The Cosmic Jokers,
Camberwell Now,
Jerry Gold Smith,
Oblivians,
Girls At Our Best!,
Siouxsie and the Banshees,
Bootsy's Rubber Band,
Cymande,
Angels of Light & Akron/Family,
Outsiders,
Faust,
Excepter,
Pete Rock & C.L. Smooth,
Au Pairs,
Barrington Levy,
Groovy Waters,
Eli Mardock,
The Moleskins,
The Remains,
Black Flag,
Electric Prunes,
The Fortunes,
Rites of Spring,
Sonic Youth,
Kevin Saunderson,
Electric Light Orchestra,
The Trojans,
Arthur Verocai,
DJ Sneak,
Newcleus,
The Tremeloes,
Radiopuhelimet,
Bang On A Can,
Traffic Nightmare,
Eric B and Rakim,
Lebanon Hanover,
James White and The Blacks,
The Divine Comedy,
Boz Scaggs,
A Certain Ratio,
Royal Trux,
Audionom,
Drive Like Jehu,
Ponytail,
Scion,
Fifty Foot Hose,
Howard Jones,
Colin Newman,
The Pretty Things,
Lindisfarne,
Fluxion, Fluxion, Fluxion, Fluxion.
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.