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 Suriname and from Sao Paulo.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Lille 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 Donald Fagen 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 Lebanon Hanover to the electroclash 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 The Skatalites. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Letta Mbulu,
Eve St. Jones,
Rhythim Is Rhythim,
In Retrospect,
Fort Wilson Riot,
June Days,
Al Stewart,
Black Moon,
Barry Ungar,
Liliput,
Easy Going,
Notorious BIG live in Amsterdam,
Dorothy Ashby,
Derrick May,
Cal Tjader,
The Fortunes,
Gastr Del Sol,
China Crisis,
Eurythmics,
La Düsseldorf,
Pantaleimon,
Lafayette Afro Rock Band,
Girls At Our Best!,
Ohio Players,
Ronan,
Interpol,
Fugazi,
Kauko Röyhkä ja Narttu,
Trumans Water,
June of 44,
Bobby Sherman,
Max Romeo,
The Selecter,
Terror Squad Feat. Camron,
A Certain Ratio,
the Sonics,
PIL,
Avey Tare,
Boredoms,
AZ,
The Men They Couldn't Hang,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Hutcherson,
Pylon,
Desert Stars,
Lou Reed,
Heavy D & The Boyz,
Scientists,
Youth Brigade,
Gerry Rafferty,
Loose Ends,
Magazine,
These Immortal Souls,
Sonic Youth,
Tropical Tobacco,
Lindisfarne,
The Toasters,
The Vogues,
Fela Kuti,
The Beau Brummels,
Marcia Griffiths,
Byron Stingily,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.