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 Korea South and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Milan 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Gang Green to the crunk 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 Lakeside. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Wasted Youth 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 synthesizer and an arpeggiator 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Jerry Gold Smith,
Zapp,
Pantytec,
Severed Heads,
Oblivians,
Deutsch Amerikanische Freundschaft,
Easy Going,
Yaz,
The Wake,
Agitation Free,
X-101,
the Bar-Kays,
Röyhkä ja Rättö ja Lehtisalo,
It's A Beautiful Day,
Reagan Youth,
The Alarm Clocks,
Brand Nubian,
48th St. Collective,
Neu!,
Liaisons Dangereuses,
Fad Gadget,
Eddi Front,
Cabaret Voltaire,
Heaven 17,
Eric Dolphy,
Underground Resistance,
Amon Düül II,
Gang of Four,
Skarface,
Mary Jane Girls,
The Fire Engines,
OOIOO,
Subhumans,
The Neon Judgement,
ABC,
Rod Modell,
the Germs,
Black Flag,
Yusef Lateef,
Guru Guru,
the Normal,
Bobby Womack,
Drive Like Jehu,
Minnie Riperton,
Strawberry Alarm Clock,
Peter Gordon & Love of Life Orchestra,
Bobby Hutcherson,
Fela Kuti,
The Names,
Lafayette Afro Rock Band,
Donny Hathaway,
Flamin' Groovies,
World's Most,
The Remains,
Sight & Sound,
Qualms,
The American Breed,
Dawn Penn,
Amazonics,
Traffic Nightmare,
Das Ding,
Cluster, Cluster, Cluster, Cluster.
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.