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 Gabon and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Manila 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Andrew Ashong & Theo Parrish 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 Fear. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Kurtis Blow 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Radiopuhelimet,
LL Cool J,
Major Organ And The Adding Machine,
Cheater Slicks,
Hardrive,
The Grass Roots,
Black Bananas,
Deutsch Amerikanische Freundschaft,
The Alarm Clocks,
Sticky Fingaz feat. Raekwon,
N.O.R.E. Featuring Pharrell,
Gang Gang Dance,
Marine Girls,
The Cowsills,
Barbara Tucker,
The Modern Lovers,
The Martian,
Fear,
Sugar Minott,
Selector Dub Narcotic,
The Names,
Tropical Tobacco,
Flash Fearless,
Intrusion,
Chris & Cosey,
Vladislav Delay,
Dead Boys,
Kayak,
Avey Tare's Slasher Flicks,
London Community Gospel Choir,
In Retrospect,
Bush Tetras,
Pierre Henry,
Eurythmics,
Sister Nancy,
Cybotron,
Jesper Dahlback,
Heavy D & The Boyz,
Yaz,
Vaughan Mason & Crew,
Lyres,
Sam Rivers,
Lee Hazlewood,
Whodini,
John Coltrane,
Clear Light,
Richard Hell and the Voidoids,
The Tremeloes,
Terry Callier,
Rowland S Howard / Lydia Lunch,
Tommy Roe,
Toni Rubio,
Art Ensemble Of Chicago,
Teenage Jesus and the Jerks,
X-Ray Spex,
John Lydon,
The Electric Prunes,
Mary Jane Girls,
Man Parrish,
Roy Ayers Ubiquity,
Glenn Branca,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.