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 Morocco and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Manila 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Cecil Taylor to the rap kids.
I played it at the 40 Watt.
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 Severed Heads. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Electric Prunes,
The Monochrome Set,
Gerry Rafferty,
Nas,
Echospace,
Justin Hinds & The Dominoes,
Fugazi,
UT,
Bobby Hutcherson,
Half Japanese,
Matthew Bourne,
The Sisters of Mercy,
Eve St. Jones,
Aural Exciters,
Country Joe & The Fish,
The Fire Engines,
Heavy D & The Boyz,
Tom Boy,
Masters at Work,
Laurel Aitken,
Freddie Wadling,
Stereo Dub,
Inner City,
Max Romeo,
The Smiths,
Eric B and Rakim,
Camouflage,
Davy DMX,
Girls At Our Best!,
Bush Tetras,
Sound Behaviour,
Lalann,
David Axelrod,
JFA,
Wighnomy Brothers & Robag Wruhme,
Brothers Johnson,
Byron Stingily,
Throbbing Gristle,
Clear Light,
The Music Machine,
Cameo,
The Gun Club,
Warren Ellis,
Shuggie Otis,
Liliput,
Nick Cave & The Bad Seeds,
Jesper Dahlbäck,
The Pretty Things,
Delta 5,
Danielle Patucci,
Supertramp,
R.M.O.,
Spoonie Gee,
Royal Trux,
Technova,
Visage,
Metal Thangz,
Lou Reed & John Cale,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.