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 Eritrea and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Salvador 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 linndrum 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 Can to the grime 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 10cc. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin 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 harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
New Order,
Cabaret Voltaire,
The Sound,
Bobby Sherman,
Rod Modell,
Letta Mbulu,
8 Eyed Spy,
David McCallum,
Kings Of Tomorrow,
Joey Negro,
The Gladiators,
Johnny Osbourne,
The Men They Couldn't Hang,
DeepChord presents Echospace,
Skarface,
The Selecter,
X-101,
AZ,
Moby Grape,
Pylon,
Pet Shop Boys,
Jerry Gold Smith,
Wolf Eyes,
Joensuu 1685,
Heaven 17,
Chris Corsano,
Boz Scaggs,
Soul II Soul,
Funkadelic,
Kayak,
Gil Scott Heron,
Ash Ra Tempel,
EPMD,
Red Lorry Yellow Lorry,
Cybotron,
Toni Rubio,
Visionaries,LMNO, T- Love & Iriscience,
Mo-Dettes,
Tommy Roe,
Fear,
The Black Dice,
Severed Heads,
Oblivians,
The Saints,
Organ,
Niagra,
Oppenheimer Analysis,
Albert Ayler,
Kevin Saunderson,
Tropical Tobacco,
Maurizio,
Marcia Griffiths,
Drexciya,
Bronski Beat,
Masters at Work,
Swell Maps,
the Swans,
Symarip,
Rahsaan Roland Kirk,
Stetsasonic,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.