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 Sri Lanka and from Portland.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Philadelphia 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 Lou Reed 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 Eddi Front to the disco 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 David Bowie. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe 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 synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Sly & The Family Stone,
Clear Light,
Boogie Down Productions,
The Five Americans,
Rhythim Is Rhythim,
The Smoke,
The Slits,
Erasure,
ABBA,
Delon & Dalcan,
John Foxx,
Tubeway Army,
Fugazi,
Arthur Verocai,
James Chance & The Contortions,
Avey Tare & Kría Brekkan,
Jandek,
Banda Bassotti,
Neil Young & Crazy Horse,
The Mummies,
Anthony Braxton,
Brand Nubian,
Jerry Gold Smith,
Essential Logic,
Althea and Donna,
Jeff Mills,
Matthew Bourne,
Lindisfarne,
Michelle Simonal,
Con Funk Shun,
Sad Lovers and Giants,
Louis and Bebe Barron,
Sun Ra Arkestra,
Rotary Connection,
Lou Christie,
Orchestral Manoeuvres in the Dark,
Brick,
F. McDonald,
Manfred Mann's Earth Band,
Ronan,
Newcleus,
Godley & Creme,
Ultravox,
The Young Rascals,
Maleditus Sound,
Depeche Mode,
Icehouse,
Grandmaster Flash,
Glambeats Corp.,
Leonard Cohen,
Cameo,
The Chocolate Watch Band,
Alphaville,
Basic Channel,
Andrew Ashong & Theo Parrish,
The Birthday Party,
Gang Green,
Hardrive,
Inner City,
A Flock of Seagulls,
The Dirtbombs,
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.