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 Gabon and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Jesper Dahlbäck to the punk kids.
I played it at the Troubador.
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 The American Breed. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Japan 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 '90s.
I hear you're buying a harpsichord 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 chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Eurythmics,
K-Klass,
Matthew Bourne,
Selector Dub Narcotic,
X-Ray Spex,
cv313,
Strawberry Alarm Clock,
Main Source,
Bobbi Humphrey,
The Fortunes,
Procol Harum,
Be Bop Deluxe,
Bang on a Can All-Stars,
Crispian St. Peters,
Carl Craig,
kango's stein massive,
Agent Orange,
Lucky Dragons,
Terror Squad Feat. Camron,
The Dead C,
Inner City,
Pharaoh Sanders and the Fire Engines,
Quando Quango,
Graham Central Station,
The Sisters of Mercy,
Crispy Ambulance,
Iggy Pop,
The J.B.'s,
Mo-Dettes,
Dennis Brown,
The Vogues,
Tubeway Army,
It's A Beautiful Day,
Röyhkä ja Rättö ja Lehtisalo,
Moby Grape,
Lou Reed & John Cale,
The Real Kids,
Basic Channel,
Kenny Larkin,
Angels of Light & Akron/Family,
Barbara Tucker,
John Holt,
Max Romeo,
Excepter,
Rites of Spring,
Niagra,
Skriet,
Slave,
Captain Beefheart & His Magic Band,
Popol Vuh,
Faraquet,
The Selecter,
The Evens,
Deakin,
Bronski Beat,
Rhythm & Sound,
Kango’s Stein Massive,
Hoover,
Joe Finger,
Q and Not U,
David Axelrod,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.