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 Luxembourg and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Swell Maps to the rap kids.
I played it at CBGB's.
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 Au Pairs. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a güiro 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 spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
One Last Wish,
John Lydon,
Howard Jones,
DJ Style,
June of 44,
Franke,
Teenage Jesus and the Jerks,
Peter and Kerry,
Gabor Szabo,
Gil Scott-Heron & Brian Jackson,
Barbara Tucker,
LL Cool J,
London Community Gospel Choir,
Bizarre Inc.,
Stereo Dub,
Organ,
Major Organ And The Adding Machine,
Soft Cell,
Janne Schatter,
Pole,
Cecil Taylor,
Gregory Isaacs,
Royal Trux,
Sun Ra Arkestra,
Q65,
Glambeats Corp.,
R.M.O.,
Gary Puckett & The Union Gap,
Bootsy's Rubber Band,
Justin Hinds & The Dominoes,
Bill Near,
The Leaves,
The Chocolate Watch Band,
OOIOO,
Eric Copeland,
Average White Band,
Spoonie Gee,
Eric Dolphy,
FM Einheit,
Scientists,
Kings Of Tomorrow,
Rahsaan Roland Kirk,
The Divine Comedy,
Depeche Mode,
Cal Tjader,
John Holt,
Electric Light Orchestra,
Sad Lovers and Giants,
Dead Boys,
Eli Mardock,
Gang Starr,
Peter & Gordon,
Country Teasers,
Eurythmics,
Todd Terry,
Notorious BIG live in Amsterdam,
Wolf Eyes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Brand Nubian,
Cluster,
Severed Heads,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.