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 Libya and from Tehran.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Donald Byrd to the funk 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 R.M.O.. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Amazonics,
The Men They Couldn't Hang,
Joyce Sims,
Lebanon Hanover,
the Human League,
Y Pants,
The Vogues,
Matthew Bourne,
Lungfish,
Cecil Taylor,
Thee Headcoats,
Morten Harket,
The Offenders,
Electric Prunes,
Radio Birdman,
Ronan,
The Cowsills,
The Monochrome Set,
The Litter,
Maleditus Sound,
Mr. Review,
Scrapy,
Echo & the Bunnymen,
Royal Trux,
Anthony Braxton,
Neil Young,
Bill Wells,
Bang On A Can,
Drive Like Jehu,
Neu!,
Lakeside,
Ken Boothe,
Babytalk,
Sun City Girls,
Robert Hood,
Minnie Riperton,
The Seeds,
The United States of America,
Pulsallama,
Technova,
Bang on a Can All-Stars,
The Grass Roots,
the Slits,
Reagan Youth,
The Beau Brummels,
Roxy Music,
Pantytec,
Kevin Saunderson,
Charles Mingus,
Marc Romboy vs. Booka Shade,
The Divine Comedy,
Subhumans,
Donny Hathaway,
Gil Scott Heron,
Vaughan Mason & Crew,
Franke,
Crooked Eye,
Byron Stingily,
Barry Ungar,
Mars,
Public Image Ltd.,
Echospace, Echospace, Echospace, Echospace.
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.