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 Namibia and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 Spokane and Lyon.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Crooked Eye to the punk kids.
I played it at the Hacienda.
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 Bill Wells. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes 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 harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Eyeless In Gaza,
Robert Görl,
Lightning Bolt,
Ash Ra Tempel,
Kings Of Tomorrow,
Ornette Coleman,
Fela Kuti,
Janne Schatter,
Roxy Music,
Ten City,
Half Japanese,
Fluxion,
Dorothy Ashby,
Camron Feat. Jay Z And Juelz,
Archie Shepp,
Nirvana,
Ohio Players,
The Black Dice,
June of 44,
Joe Smooth,
Unrelated Segments,
D'Angelo,
Rufus Thomas,
Bush Tetras,
Prince Buster,
Boogie Down Productions,
Chrome,
Marmalade,
The Gap Band,
Strawberry Alarm Clock,
Moss Icon,
China Crisis,
Ituana,
The Gories,
Lee Hazlewood,
Saccharine Trust,
Soft Cell,
Fat Boys,
Sarah Menescal,
Max Romeo,
Manfred Mann's Earth Band,
Franke,
Fugazi,
Danielle Patucci,
Reuben Wilson,
One Last Wish,
Kool G Rap & DJ Polo,
Camouflage,
K-Klass,
Susan Cadogan,
Second Layer,
Agitation Free,
The Associates,
Visage,
Monolake,
Sparks,
Nas,
The Dave Clark Five,
Duran Duran,
U.S. Maple,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.