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 Italy and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet 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 The Busters to the jazz 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 Minor Threat. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron 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 arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
The Count Five,
The Gun Club,
Rod Modell,
The Barracudas,
James White and The Blacks,
Lungfish,
Soulsonic Force,
DJ Sneak,
Banda Bassotti,
Swans,
Excepter,
Kauko Röyhkä ja Narttu,
Anakelly,
These Immortal Souls,
Yazoo,
Captain Beefheart & His Magic Band,
Can,
Sarah Menescal,
The Moleskins,
Lightning Bolt,
John Holt,
Peter and Kerry,
Porter Ricks,
Graham Central Station,
Magazine,
Jimmy McGriff,
Pantaleimon,
Soul II Soul,
Robert Görl,
David McCallum,
Idris Muhammad,
Joe Finger,
Don Cherry,
Radio Birdman,
The Sonics,
Letta Mbulu,
Danielle Patucci,
Little Man,
Whodini,
Susan Cadogan,
Camouflage,
The Dead C,
The Velvet Underground,
Bobby Womack,
Sad Lovers and Giants,
Clear Light,
Camron Feat. Jay Z And Juelz,
Archie Shepp,
Kevin Saunderson,
The Offenders,
James Chance & The Contortions,
Curtis Mayfield,
The Fall,
Sällskapet,
The Pop Group,
Yellowson,
Eric Copeland,
Yaz,
Rotary Connection,
June Days,
Audionom, Audionom, Audionom, Audionom.
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.