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 Samoa and from Houston.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Lille 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 1976 at the first Chic practice in a loft in New York.
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 Lee Hazlewood to the crunk kids.
I played it at CBGB's.
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 Eurythmics. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every June of 44 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Lou Reed & Metallica,
Max Romeo,
Bill Near,
Jimmy McGriff,
Mad Mike,
Matthew Bourne,
F. McDonald,
Camron Feat. Jay Z And Juelz,
Niagra,
Camberwell Now,
Bob Dylan,
The Durutti Column,
Kerri Chandler,
A Certain Ratio,
Delon & Dalcan,
Rufus Thomas,
Nirvana,
Nik Kershaw,
Toni Rubio,
Jacob Miller,
Laurel Aitken,
E-Dancer,
The Toasters,
D'Angelo,
Amon Düül II,
Marmalade,
The Sisters of Mercy,
Gichy Dan,
Interpol,
Gang of Four,
Colin Newman,
the Sonics,
Hardrive,
Gang Green,
The Jesus and Mary Chain,
Stiv Bators,
Liliput,
Deepchord,
T.S.O.L.,
Yazoo,
Andrew Hill,
Oblivians,
Rosa Yemen,
DJ Sneak,
FM Einheit,
ABC,
Echospace,
Bobby Byrd,
Qualms,
David Bowie,
Roxy Music,
Magazine,
The Pop Group,
Jesper Dahlback,
Nico,
Skarface,
Royal Trux,
Sex Pistols,
Tommy Roe,
June Days,
U.S. Maple,
The Fire Engines,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.