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 Estonia and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1979.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Anthony Braxton to the techno 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 Scion. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal jazz 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 a snare and an oboe 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?
Notorious Big And Bone Thugs,
The Selecter,
The Offenders,
Rufus Thomas,
Theoretical Girls,
Heavy D & The Boyz,
8 Eyed Spy,
Kauko Röyhkä ja Narttu,
Gary Puckett & The Union Gap,
The Fall,
Visage,
Lyres,
Glambeats Corp.,
Reuben Wilson,
Au Pairs,
The Shadows of Knight,
The Beau Brummels,
Skaos,
Johnny Clarke,
Tubeway Army,
The Cosmic Jokers,
Visionaries,LMNO, T- Love & Iriscience,
Pagans,
Hasil Adkins,
Bad Manners,
Joensuu 1685,
Peter and Kerry,
Black Pus,
Dead Boys,
Blake Baxter,
Bobby Sherman,
Peter Gordon & Love of Life Orchestra,
Marine Girls,
Andrew Hill,
Flipper,
Pharaoh Sanders and the Fire Engines,
the Association,
Young Marble Giants,
Niagra,
Main Source,
Avey Tare's Slasher Flicks,
Nation of Ulysses,
Magazine,
Avey Tare & Kría Brekkan,
JFA,
Boogie Down Productions,
Basic Channel,
Essential Logic,
Mr. Review,
Sight & Sound,
Johnny Osbourne,
Buzzcocks,
Terror Squad Feat. Camron,
Radiopuhelimet,
Sister Nancy,
Neil Young & Crazy Horse,
Lalann,
The Five Americans,
The Divine Comedy,
Ultimate Spinach,
Donny Hathaway,
Rhythm & Sound,
F. McDonald,
Tim Buckley,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.