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 Malaysia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Taipei and Columbus.
I'm losing my edge to the art-school Cairo 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 Throbbing Gristle practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Panda Bear to the grime kids.
I played it at the Astoria.
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 Bang On A Can. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Count Five 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an organ 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 an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Eric Copeland,
Interpol,
Pet Shop Boys,
The Grass Roots,
Drive Like Jehu,
Tubeway Army,
Shoche,
Half Japanese,
Electric Light Orchestra,
Faust,
Red Lorry Yellow Lorry,
The Star Department,
the Association,
Colin Newman,
Thinking Fellers Union Local 282,
Visionaries,LMNO, T- Love & Iriscience,
Teenage Jesus and the Jerks,
Toni Rubio,
Ultramagnetic MC's,
Ohio Players,
De La Soul & Jungle Brothers,
Eurythmics,
Tears for Fears,
Negative Approach,
The Fall,
Soft Machine,
Quadrant,
Camberwell Now,
Robert Hood,
Sonny Sharrock,
Fugazi,
Mad Mike,
Joey Negro,
The Mighty Diamonds,
Jawbox,
The Gap Band,
Chrome,
The Index,
Minny Pops,
Soft Cell,
Cecil Taylor,
Masters at Work,
Theoretical Girls,
Gian Franco Pienzio,
Derrick May,
Maleditus Sound,
The Standells,
Lucky Dragons,
Intrusion,
Lindisfarne,
Fela Kuti,
Big Daddy Kane,
Aural Exciters,
Godley & Creme,
Siglo XX,
Peter and Kerry,
Aloha Tigers,
The Victims,
the Slits,
Arcadia, Arcadia, Arcadia, Arcadia.
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.