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 San Marino and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Thompson Twins to the grime kids.
I played it at the Spitz.
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 Gap Band. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Loose Ends 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
David McCallum,
Fear,
Tommy Roe,
Gary Puckett & The Union Gap,
Cecil Taylor,
Supertramp,
Todd Rundgren,
Sun City Girls,
James Chance & The Contortions,
Rites of Spring,
Agitation Free,
Reuben Wilson,
Wally Richardson,
Flamin' Groovies,
the Normal,
Sällskapet,
One Last Wish,
Grey Daturas,
The Raincoats,
Ajijia Myrayebe,
Mars,
Smog,
Angry Samoans,
Black Flag,
Warren Ellis,
The Young Rascals,
The Cowsills,
The Fortunes,
Au Pairs,
the Germs,
Isaac Hayes,
Minor Threat,
The Remains,
F. McDonald,
Kayak,
Ten City,
Vaughan Mason & Crew,
Adolescents,
The Associates,
Mr. Review,
Black Pus,
London Community Gospel Choir,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Bob Dylan,
Gil Scott Heron,
Nico,
Sandy B,
B.T. Express,
Blancmange,
Khruangbin,
Subhumans,
The Birthday Party,
Robert Wyatt,
Swell Maps,
Leonard Cohen,
Sad Lovers and Giants,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.