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 Vietnam and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Beijing 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 Wire practice in a loft in Watford.
I was working on the 808 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 The Gap Band to the grime kids.
I played it at Trash.
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 The Dead C. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Pulsallama 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet 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 chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Bobby Sherman,
Boz Scaggs,
Pussy Galore,
The Chocolate Watch Band,
Liaisons Dangereuses,
Ultravox,
Hoover,
the Slits,
Country Joe & The Fish,
Sam Rivers,
Eric Copeland,
Electric Prunes,
Goldenarms,
The Modern Lovers,
Ice-T,
Big Daddy Kane,
Sexual Harrassment,
The Buckinghams,
Nation of Ulysses,
Sällskapet,
Cabaret Voltaire,
kango's stein massive,
Neu!,
Iggy Pop,
Marshall Jefferson,
Sparks,
Brothers Johnson,
Basic Channel,
Maleditus Sound,
Ornette Coleman,
The Searchers,
Cymande,
Ronan,
Althea and Donna,
Delta 5,
Ultramagnetic MC's,
Marvin Gaye,
Man Parrish,
Derrick Morgan,
Dorothy Ashby,
Henry Cow,
Sonny Sharrock,
Sight & Sound,
Crash Course in Science,
Pole,
Vladislav Delay,
James Chance & The Contortions,
Suicide,
Bootsy Collins,
Warren Ellis,
Talk Talk,
Masters at Work,
The Jesus and Mary Chain,
The Cosmic Jokers,
La Düsseldorf,
The Dirtbombs,
Lower 48,
Gary Puckett & The Union Gap,
The Tremeloes,
8 Eyed Spy,
Bauhaus,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.