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 Niger and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Accra and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Nik Kershaw to the crunk kids.
I played it at the Troubador.
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 Marshall Jefferson. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Rufus Thomas 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord 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 linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
U.S. Maple,
Marine Girls,
Minnie Riperton,
Desert Stars,
Newcleus,
New Order,
Ice-T,
Selector Dub Narcotic,
Josef K,
Pharoah Sanders,
Andrew Hill,
Ossler,
The Fall,
Vaughan Mason & Crew,
Icehouse,
Quantec,
Arab on Radar,
Bauhaus,
Nils Olav,
Al Stewart,
Tim Buckley,
Franke,
Buzzcocks,
Beasts of Bourbon,
The West Coast Pop Art Experimental Band,
Niagra,
Rakim,
The Five Americans,
The New Christs,
Ornette Coleman,
Parry Music,
Mo-Dettes,
The Tremeloes,
48th St. Collective,
Jacques Brel,
Bobby Sherman,
Interpol,
Darondo,
Davy DMX,
The Shadows of Knight,
Glenn Branca,
Camron Feat. Jay Z And Juelz,
Excepter,
Skarface,
K-Klass,
The Buckinghams,
Magma,
Fugazi,
In Retrospect,
Electric Light Orchestra,
Camron Feat. Memphis Bleek And Beenie Seigel,
JFA,
Susan Cadogan,
The Dave Clark Five,
Mission of Burma,
The Monks,
Mary Jane Girls,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.