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 Guatemala 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 1965 to 1972.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Milan 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar 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 Black Sheep to the grime 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 F. McDonald. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every The Star Department 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Ornette Coleman,
Robert Görl,
Japan,
Babytalk,
Donald Byrd,
Nirvana,
The Peanut Butter Conspiracy,
Delon & Dalcan,
In Retrospect,
Bad Manners,
Beasts of Bourbon,
Nation of Ulysses,
Max Romeo,
Man Eating Sloth,
A Certain Ratio,
CMW,
Vainqueur,
Anthony Braxton,
The Electric Prunes,
Joe Smooth,
Model 500,
Amon Düül,
Nick Fraelich,
Q and Not U,
Juan Atkins,
The Associates,
Massinfluence,
Bill Near,
The Beau Brummels,
Gabor Szabo,
The Dirtbombs,
Scion,
Second Layer,
Manfred Mann's Earth Band,
Livin' Joy,
Maurizio,
It's A Beautiful Day,
Soul II Soul,
Wally Richardson,
The Martian,
Ten City,
Larry & the Blue Notes,
China Crisis,
Groovy Waters,
Magazine,
The Pop Group,
The Jesus and Mary Chain,
Gil Scott-Heron and Jamie xx,
Deutsch Amerikanische Freundschaft,
The United States of America,
The Doobie Brothers,
Flipper,
Ken Boothe,
Eric Dolphy,
The Stooges,
The Real Kids,
Easy Going,
Maleditus Sound,
The Standells,
MDC,
Gang Starr,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.