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 Denmark and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 London and Cairo.
I'm losing my edge to the art-school Columbus 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Shadows of Knight to the grime 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 Idris Muhammad. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer 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 linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Deakin,
Traffic Nightmare,
Lou Christie,
The Mighty Diamonds,
Frankie Knuckles,
Main Source,
Angels of Light & Akron/Family,
Bobby Sherman,
Barrington Levy,
Scott Walker + Sunn O))),
Minny Pops,
R.M.O.,
The Toasters,
Babytalk,
The Red Krayola,
Kango’s Stein Massive,
The Fall,
The Vogues,
Hashim,
Stockholm Monsters,
The Grass Roots,
Loose Ends,
Public Image Ltd.,
the Human League,
Donald Byrd,
Janne Schatter,
The Remains,
John Holt,
Alice Coltrane,
Pete Rock & C.L. Smooth,
Los Fastidios,
Stereo Dub,
Ludus,
Super Lover Cee & Casanova Rud,
Sam Rivers,
Roxette,
Crime,
Alison Limerick,
Piero Umiliani,
cv313,
The Seeds,
Mark Hollis,
the Bar-Kays,
Ronan,
Captain Beefheart & His Magic Band,
Gang Gang Dance,
Peter Gordon & Love of Life Orchestra,
The Human League,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
Animal Collective,
Blancmange,
10cc,
Cheater Slicks,
Cal Tjader,
Lou Reed,
The Neon Judgement,
Henry Cow,
X-Ray Spex,
New York Dolls,
Jeru the Damaja,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.