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 Comoros and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Stockholm.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Sandy B to the dance 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 Absolute Body Control. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe 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 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Rotary Connection,
Kool Moe Dee,
Fad Gadget,
Thinking Fellers Union Local 282,
Siouxsie and the Banshees,
Minnie Riperton,
The Real Kids,
UT,
Smog,
Matthew Halsall,
Steve Hackett,
DNA,
Angry Samoans,
Kevin Saunderson,
Average White Band,
Outsiders,
Wolf Eyes,
Strawberry Alarm Clock,
U.S. Maple,
Selector Dub Narcotic,
The Mighty Diamonds,
The Last Poets,
Roy Ayers Ubiquity,
Loose Ends,
The Standells,
MDC,
Blake Baxter,
Lightning Bolt,
Arcadia,
Liliput,
The Fuzztones,
Wasted Youth,
Sun Ra Arkestra,
New Age Steppers,
Simply Red,
Marcia Griffiths,
Franke,
The Blues Magoos,
Jeff Lynne,
Dave Gahan,
DJ Sneak,
The Sisters of Mercy,
Soft Machine,
Faraquet,
Marmalade,
Camouflage,
Scientists,
Peter & Gordon,
Joensuu 1685,
Pole,
Gastr Del Sol,
Lyres,
A Flock of Seagulls,
The Fugs,
H. Thieme,
Jesper Dahlbäck,
Lizzy Mercier Descloux,
Barry Ungar,
Marshall Jefferson,
The Five Americans,
The Victims, The Victims, The Victims, The Victims.
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.