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 Congo and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1974.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Gian Franco Pienzio to the dance kids.
I played it at the Spitz.
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 Beasts of Bourbon. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal dance 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 marimba 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Jeff Mills,
The Standells,
Camouflage,
Peter and Kerry,
Technova,
Sam Rivers,
Louis and Bebe Barron,
The Durutti Column,
Dorothy Ashby,
Average White Band,
Soul II Soul,
Jimmy McGriff,
Mary Jane Girls,
Lee Hazlewood,
John Foxx,
Roxette,
James White and The Blacks,
Howard Jones,
Gerry Rafferty,
JFA,
Grey Daturas,
Soft Cell,
Eric Dolphy,
Al Stewart,
Trumans Water,
Girls At Our Best!,
Richard Hell and the Voidoids,
Nico,
The Litter,
Make Up,
Rhythm & Sound,
The Happenings,
Ultravox,
Kayak,
U.S. Maple,
Delon & Dalcan,
Sun Ra,
Grandmaster Flash,
Toni Rubio,
a-ha,
Sixth Finger,
Erykah Badu,
Pierre Henry,
Lonnie Liston Smith,
Scan 7,
Hasil Adkins,
Gil Scott Heron,
Cluster,
Matthew Halsall,
Radiohead,
Crispian St. Peters,
Radio Birdman,
Drive Like Jehu,
Lakeside,
The Alarm Clocks,
Jesper Dahlbäck,
Susan Cadogan,
The Searchers,
DJ Sneak,
EPMD,
Blake Baxter,
The Motions,
These Immortal Souls,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.