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 Ukraine and from Paris.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar 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 Darondo to the electroclash 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 Justin Hinds & The Dominoes. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Intrusion 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 guitar 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 spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Matthew Halsall,
Idris Muhammad,
Radio Birdman,
Byron Stingily,
Unrelated Segments,
Yellowson,
Blake Baxter,
Mars,
Donald Byrd,
Robert Hood,
The Move,
Oppenheimer Analysis,
The Saints,
The New Christs,
Soft Cell,
the Normal,
Sound Behaviour,
Das Ding,
Fear,
Masters at Work,
Section 25,
Sight & Sound,
Crispian St. Peters,
The J.B.'s,
Jeff Lynne,
Make Up,
Nirvana,
Sällskapet,
The Count Five,
Duran Duran,
Kas Product,
Intrusion,
Danielle Patucci,
Can,
Girls At Our Best!,
Swans,
Fifty Foot Hose,
Eli Mardock,
The Black Dice,
Eurythmics,
John Coltrane,
Slick Rick,
Justin Hinds & The Dominoes,
Fatback Band,
Mantronix,
Visage,
Jesper Dahlbäck,
Von Mondo,
kango's stein massive,
Alice Coltrane,
The Names,
Easy Going,
Visionaries,LMNO, T- Love & Iriscience,
Joe Finger,
the Swans,
Roy Ayers,
CMW,
Davy DMX,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.