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 Belarus and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Madrid 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Blancmange to the jazz 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 Pharoah Sanders. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a linndrum 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 a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Young Marble Giants,
Bobby Hutcherson,
Eyeless In Gaza,
Josef K,
Minny Pops,
New Age Steppers,
Jerry Gold Smith,
Davy DMX,
Drive Like Jehu,
Arcadia,
The Birthday Party,
Mission of Burma,
Pulsallama,
Jimmy McGriff,
Khruangbin,
Big Daddy Kane,
Al Stewart,
Tropical Tobacco,
Suburban Knight,
Motorama,
Little Man,
The Fire Engines,
Adolescents,
Wolf Eyes,
The Doors,
Kurtis Blow,
Rahsaan Roland Kirk,
Arthur Verocai,
Stereo Dub,
Ossler,
Quando Quango,
Ornette Coleman,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Deepchord,
Lower 48,
Rakim,
Wighnomy Brothers & Robag Wruhme,
H. Thieme,
Roy Ayers Ubiquity,
Crash Course in Science,
Marine Girls,
Gichy Dan,
Lou Reed & John Cale,
Faust,
Matthew Halsall,
The Gap Band,
Andrew Hill,
Teenage Jesus and the Jerks,
Gang Green,
Quadrant,
Rotary Connection,
Animal Collective,
Dawn Penn,
Drexciya,
James Chance & The Contortions,
Vaughan Mason & Crew,
The Toasters,
Morten Harket,
David Bowie,
Jesper Dahlback,
Johnny Clarke,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.