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 Chile and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the techno kids.
I played it at the Roxy.
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 Glambeats Corp.. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Magma,
Stereo Dub,
Technova,
Monks,
Negative Approach,
The Royal Family And The Poor,
Scott Walker + Sunn O))),
Orchestral Manoeuvres in the Dark,
John Holt,
A Certain Ratio,
Adolescents,
The Mummies,
the Slits,
The Smiths,
Mission of Burma,
Intrusion,
Erasure,
Rhythim Is Rhythim,
Moby Grape,
Steve Hackett,
The Five Americans,
X-101,
Cheater Slicks,
Unrelated Segments,
June of 44,
Los Fastidios,
LL Cool J,
Eden Ahbez,
Sex Pistols,
Boredoms,
Severed Heads,
Derrick May,
Half Japanese,
Avey Tare's Slasher Flicks,
Leonard Cohen,
Alton Ellis,
Dave Gahan,
DJ Sneak,
Davy DMX,
Desert Stars,
Yusef Lateef,
The Pop Group,
Boogie Down Productions,
Cabaret Voltaire,
Average White Band,
Aswad,
Fela Kuti,
Reagan Youth,
Main Source,
Jerry's Kids,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Sonics,
Dark Day,
Terry Callier,
The Doobie Brothers,
Sly & The Family Stone,
Jeru the Damaja,
Depeche Mode,
Index,
Fat Boys,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.