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 Germany and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Halifax and Bologna.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 Dennis Brown to the rock 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 Idris Muhammad. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Deadbeat 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer 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 arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Cymande,
Kenny Larkin,
Nick Fraelich,
Bootsy Collins,
China Crisis,
Harmonia,
Bad Manners,
The Move,
K-Klass,
Main Source,
LL Cool J,
Echo & the Bunnymen,
Freddie Wadling,
Kings Of Tomorrow,
Lakeside,
Lightning Bolt,
Essential Logic,
Darondo,
Kaleidoscope,
L. Decosne,
Hardrive,
Tears for Fears,
A Certain Ratio,
Wally Richardson,
The Searchers,
Ludus,
Funky Four + One,
Lalo Schifrin,
The Angels of Light,
Smog,
Joensuu 1685,
Depeche Mode,
A Flock of Seagulls,
Rakim,
Gian Franco Pienzio,
Lou Reed,
Andrew Hill,
Quantec,
Thee Headcoats,
Spandau Ballet,
Lou Christie,
Aural Exciters,
The Count Five,
Deakin,
Ralphi Rosario,
Maurizio,
E-Dancer,
June of 44,
Barry Ungar,
Peter Gordon & Love of Life Orchestra,
Yaz,
Josef K,
FM Einheit,
Curtis Mayfield,
CMW,
Monolake,
The Moleskins,
Los Fastidios,
Q65,
Swell Maps,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker 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.