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 Pakistan and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Tokyo 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Strawberry Alarm Clock 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 Harry Pussy. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Cal Tjader 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord 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 synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
PIL,
The Monochrome Set,
Strawberry Alarm Clock,
Minnie Riperton,
The Standells,
Mary Jane Girls,
Marc Almond,
Au Pairs,
The Knickerbockers,
Gabor Szabo,
Spandau Ballet,
Skaos,
Jesper Dahlback,
The Flesh Eaters,
Spoonie Gee,
Marvin Gaye,
Loose Ends,
Kas Product,
Angels of Light & Akron/Family,
Sonic Youth,
Royal Trux,
Skarface,
Marshall Jefferson,
T.S.O.L.,
These Immortal Souls,
Henry Cow,
Banda Bassotti,
The Blues Magoos,
Donny Hathaway,
Terrestrial Tones,
Fad Gadget,
ABC,
Black Moon,
Richard Hell and the Voidoids,
David McCallum,
The Moody Blues,
Lonnie Liston Smith,
Stereo Dub,
Franke,
Deutsch Amerikanische Freundschaft,
This Heat,
The Litter,
The Mojo Men,
Harpers Bizarre,
Joy Division,
Japan,
Sex Pistols,
Index,
Barclay James Harvest,
The Trojans,
Notorious BIG live in Amsterdam,
Minor Threat,
Fluxion,
Liaisons Dangereuses,
The Walker Brothers,
Wally Richardson,
Albert Ayler,
MC5,
The Dave Clark Five,
Urselle, Urselle, Urselle, Urselle.
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.