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 East Timor and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Toronto 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 Ubu practice in a loft in Cleveland.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Eurythmics to the techno kids.
I played it at the Hacienda.
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 Alton Ellis. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer 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 spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
The Smoke,
JFA,
Tim Buckley,
Zero Boys,
Lou Reed & John Cale,
London Community Gospel Choir,
Slave,
Stereo Dub,
Skarface,
La Düsseldorf,
Theoretical Girls,
Warren Ellis,
Spoonie Gee,
The New Christs,
Dawn Penn,
Circle Jerks,
Johnny Osbourne,
Sam Rivers,
The Men They Couldn't Hang,
Matthew Halsall,
Cybotron,
The Victims,
The Offenders,
Vladislav Delay,
Excepter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wighnomy Brothers & Robag Wruhme,
Nation of Ulysses,
Trumans Water,
Zapp,
Robert Görl,
Eli Mardock,
Tubeway Army,
Bad Manners,
Los Fastidios,
The Neon Judgement,
Pantaleimon,
Ronnie Foster,
Justin Hinds & The Dominoes,
Smog,
The Index,
China Crisis,
Mr. Review,
Lou Reed & Metallica,
Derrick May,
Porter Ricks,
Eurythmics,
The Fall,
Man Eating Sloth,
Yazoo,
Nas,
Brass Construction,
Terry Callier,
Severed Heads,
The Detroit Cobras,
Lafayette Afro Rock Band,
Von Mondo,
the Association,
Todd Rundgren,
Joe Finger,
Bluetip,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.