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 Kazakhstan and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 The Doors to the funk kids.
I played it at the Crocodile.
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 Kinks. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Black Pus 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes 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 snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
The Fugs,
Nas,
The Invisible,
Robert Görl,
Vladislav Delay,
Aaron Thompson,
The Doors,
Organ,
Amon Düül,
Stiv Bators,
Mo-Dettes,
the Slits,
The Mighty Diamonds,
the Fania All-Stars,
Fear,
The Electric Prunes,
Essential Logic,
Alice Coltrane,
Lakeside,
Pantaleimon,
Wolf Eyes,
Zapp,
R.M.O.,
Matthew Bourne,
Funky Four + One,
Sad Lovers and Giants,
Throbbing Gristle,
Lungfish,
Soulsonic Force,
Yazoo,
Heaven 17,
Eurythmics,
Sunsets and Hearts,
New Age Steppers,
Todd Terry,
Roy Ayers Ubiquity,
John Lydon,
Chris & Cosey,
Byron Stingily,
Ornette Coleman,
Kurtis Blow,
Smog,
the Human League,
Ronan,
Groovy Waters,
John Cale,
X-Ray Spex,
Avey Tare's Slasher Flicks,
Intrusion,
The Cure,
Yaz,
the Bar-Kays,
The Martian,
Thee Headcoats,
Jesper Dahlbäck,
Public Enemy,
Kevin Saunderson,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.