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 Qatar and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1976.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Mission of Burma to the techno 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 Moss Icon. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Public Enemy,
Ten City,
Section 25,
Ronnie Foster,
The Invisible,
K-Klass,
Warsaw,
Agent Orange,
Minnie Riperton,
Accadde A,
Black Flag,
Guru Guru,
The Misunderstood,
Ultramagnetic MC's,
Sly & The Family Stone,
Tubeway Army,
Sticky Fingaz feat. Raekwon,
Deakin,
Scion,
The Pretty Things,
Ossler,
John Holt,
Procol Harum,
The Real Kids,
Pole,
Heavy D & The Boyz,
Masters at Work,
Massinfluence,
Jesper Dahlbäck,
EPMD,
Davy DMX,
Little Man,
Sixth Finger,
Joyce Sims,
F. McDonald,
Ronan,
The Modern Lovers,
The Fall,
Trumans Water,
Michelle Simonal,
Dawn Penn,
Ralphi Rosario,
The Slackers,
Unrelated Segments,
Throbbing Gristle,
Rhythim Is Rhythim,
Lungfish,
Japan,
Interpol,
Lalann,
Ultimate Spinach,
Marvin Gaye,
Ultra Naté,
The Offenders,
ABC,
Young Marble Giants,
Nick Fraelich,
The West Coast Pop Art Experimental Band,
a-ha,
Curtis Mayfield,
Janne Schatter,
John Lydon,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.