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 Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Lagos 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 Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Blossom Toes to the crunk kids.
I played it at the Roxy.
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 Make Up. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Pole,
Neil Young & Crazy Horse,
Amon Düül II,
U.S. Maple,
Gabor Szabo,
The Saints,
Sällskapet,
Marc Almond,
Spandau Ballet,
The Pop Group,
Sexual Harrassment,
Loose Ends,
Charles Mingus,
Glenn Branca,
Cameo,
Lee Hazlewood,
The Techniques,
Jesper Dahlbäck,
Gastr Del Sol,
Max Romeo,
Joe Finger,
Bill Near,
Warren Ellis,
Marcia Griffiths,
Jawbox,
Ice-T,
Au Pairs,
The Kinks,
Deutsch Amerikanische Freundschaft,
Qualms,
Mad Mike,
The Leaves,
Goldenarms,
The Angels of Light,
Rites of Spring,
Black Sheep,
The Misunderstood,
Blake Baxter,
Monolake,
Notorious BIG live in Amsterdam,
Hashim,
The Happenings,
Jacques Brel,
Tommy Roe,
Deadbeat,
Fluxion,
Byron Stingily,
The Names,
The Fire Engines,
the Normal,
FM Einheit,
Radiohead,
Alphaville,
Dawn Penn,
Radiopuhelimet,
Youth Brigade,
New York Dolls,
Angels of Light & Akron/Family,
Kenny Larkin,
Delta 5, Delta 5, Delta 5, Delta 5.
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.