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 Benin and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Paris.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the clarinet 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 Flipper to the punk 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 Skaos. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal jazz 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 a snare and a sitar 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 an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Ornette Coleman,
Massinfluence,
In Retrospect,
Skarface,
Ice-T,
Neu!,
Shuggie Otis,
Agent Orange,
Country Joe & The Fish,
Gian Franco Pienzio,
Matthew Bourne,
KRS-One,
Laurel Aitken,
Major Organ And The Adding Machine,
Make Up,
Soft Machine,
The Victims,
Janne Schatter,
Crash Course in Science,
The Fugs,
Television Personalities,
The Modern Lovers,
Kayak,
Gary Puckett & The Union Gap,
The Cure,
Donald Byrd,
The Techniques,
Richard Hell and the Voidoids,
The Martian,
Kango’s Stein Massive,
Section 25,
Quadrant,
Lalo Schifrin,
Donny Hathaway,
Icehouse,
Public Enemy,
Motorama,
The Doobie Brothers,
The Wake,
Hot Snakes,
Charles Mingus,
Matthew Halsall,
Rekid,
Scott Walker + Sunn O))),
The Chocolate Watch Band,
Ossler,
Sam Rivers,
New Order,
Patti Smith,
The Royal Family And The Poor,
Jerry's Kids,
Pierre Henry,
Prince Buster,
Junior Murvin,
John Foxx,
Groovy Waters,
Juan Atkins,
Negative Approach,
Rhythim Is Rhythim,
Danielle Patucci,
Bobby Womack,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.