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 London.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Delhi 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 Mistral practice in a loft in Amsterdam.
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 Brand Nubian to the rap kids.
I played it at Trash.
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 Delon & Dalcan. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a spring reverb 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?
Metal Thangz,
Ultravox,
Warsaw,
Rotary Connection,
Aswad,
Joe Finger,
Section 25,
Dawn Penn,
Gary Puckett & The Union Gap,
Don Cherry,
Derrick Morgan,
Sun Ra,
Technova,
Q and Not U,
Hot Snakes,
Amon Düül II,
A Certain Ratio,
Kango’s Stein Massive,
James Chance & The Contortions,
Glenn Branca,
Eric Dolphy,
Mad Mike,
The Tremeloes,
Jesper Dahlbäck,
Harmonia,
The Dead C,
Sonny Sharrock,
X-101,
Flipper,
Idris Muhammad,
Juan Atkins,
Visionaries,LMNO, T- Love & Iriscience,
The Gun Club,
Kerri Chandler,
Organ,
Beasts of Bourbon,
Moebius,
Selector Dub Narcotic,
Au Pairs,
Terror Squad Feat. Camron,
Throbbing Gristle,
Kurtis Blow,
The Neon Judgement,
Lonnie Liston Smith,
The Dirtbombs,
Brand Nubian,
Quando Quango,
Delta 5,
Popol Vuh,
Colin Newman,
Ice-T,
DJ Sneak,
Godley & Creme,
Kauko Röyhkä ja Narttu,
Gregory Isaacs,
Masters at Work,
The Chocolate Watch Band,
Sarah Menescal,
Harpers Bizarre,
Alison Limerick,
The Beau Brummels,
Tubeway Army,
Japan,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.