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 Cuba and from London.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 New Order to the disco kids.
I played it at the Crocodile.
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 Marcia Griffiths. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Pretty Things 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Skriet,
Tres Demented,
Silicon Teens,
Wighnomy Brothers & Robag Wruhme,
New York Dolls,
AZ,
Whodini,
The Red Krayola,
The Pretty Things,
Siouxsie and the Banshees,
Beasts of Bourbon,
Juan Atkins,
Gil Scott-Heron & Brian Jackson,
Cal Tjader,
Crime,
T.S.O.L.,
Bootsy Collins,
Neu!,
Wolf Eyes,
Metal Thangz,
Siglo XX,
Dawn Penn,
Piero Umiliani,
The J.B.'s,
Fela Kuti,
Second Layer,
the Slits,
the Human League,
Lalo Schifrin,
Blancmange,
Tropical Tobacco,
The Fire Engines,
Kayak,
The Happenings,
Man Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Soft Machine,
Sad Lovers and Giants,
Trumans Water,
Surgeon,
Chris & Cosey,
Jerry Gold Smith,
Lindisfarne,
Pulsallama,
Mr. Review,
Patti Smith,
Kevin Saunderson,
X-Ray Spex,
The Leaves,
Funky Four + One,
Mark Hollis,
Neil Young & Crazy Horse,
Soulsonic Force,
Japan,
Monks,
Skarface,
This Heat,
June of 44,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.