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 Jordan and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1970.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Eden Ahbez to the funk kids.
I played it at the Roxy.
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 Buzzcocks. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '80s.
I hear you're buying an oboe and a synthesizer 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Joy Division,
Donald Byrd,
Robert Hood,
Fugazi,
Eddi Front,
The Saints,
Isaac Hayes,
Scratch Acid,
JFA,
Kool Moe Dee,
Kurtis Blow,
Scientists,
Groovy Waters,
Sugar Minott,
Lyres,
The American Breed,
MDC,
Porter Ricks,
Main Source,
The Motions,
Sonny Sharrock,
Hardrive,
The Black Dice,
In Retrospect,
Cymande,
Joey Negro,
Chris & Cosey,
The Techniques,
Don Cherry,
Camberwell Now,
Alton Ellis,
Gichy Dan,
Gil Scott-Heron & Brian Jackson,
Terrestrial Tones,
Goldenarms,
Aural Exciters,
the Human League,
Clear Light,
The Music Machine,
Dead Boys,
The Kinks,
The Neon Judgement,
Lower 48,
the Association,
The Skatalites,
Davy DMX,
Brass Construction,
Shuggie Otis,
Nico,
Archie Shepp,
Pole,
Siglo XX,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bang on a Can All-Stars,
Icehouse,
Shoche,
Major Organ And The Adding Machine,
Sight & Sound,
Oblivians,
The Standells,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.