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 Finland and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Knickerbockers to the grime kids.
I played it at the Roxy.
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 Techniques. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Johnny Clarke 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a guitar 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 clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Jacques Brel,
Brass Construction,
Sparks,
Severed Heads,
Deepchord,
the Slits,
Black Moon,
Kaleidoscope,
Funkadelic,
Eli Mardock,
The Men They Couldn't Hang,
John Cale,
Sonic Youth,
Funky Four + One,
Das Ding,
Godley & Creme,
Bronski Beat,
DNA,
Scott Walker,
Freddie Wadling,
Underground Resistance,
Lonnie Liston Smith,
Lower 48,
The Invisible,
K-Klass,
Mo-Dettes,
Thinking Fellers Union Local 282,
Nico,
Kauko Röyhkä ja Narttu,
Bad Manners,
Terror Squad Feat. Camron,
The Birthday Party,
Joey Negro,
Kool G Rap & DJ Polo,
Jerry's Kids,
Morten Harket,
Ludus,
Bill Near,
Bill Wells,
Yusef Lateef,
UT,
Bang On A Can,
Kayak,
Easy Going,
Delta 5,
Radio Birdman,
One Last Wish,
Cecil Taylor,
the Fania All-Stars,
Erasure,
Dorothy Ashby,
The Electric Prunes,
Minor Threat,
The Toasters,
kango's stein massive,
Robert Görl,
Excepter,
Hot Snakes,
Barry Ungar,
The Music Machine,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.