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 San Marino and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Bremen.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Black Dice to the rock kids.
I played it at the Hacienda.
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 Notorious Big And Bone Thugs. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Jandek 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar 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 sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Motorama,
Oblivians,
Suburban Knight,
Judy Mowatt,
Major Organ And The Adding Machine,
Donny Hathaway,
Selector Dub Narcotic,
E-Dancer,
Mr. Review,
Lyres,
The Gun Club,
Black Moon,
Visionaries,LMNO, T- Love & Iriscience,
Tomorrow,
The Residents,
Deadbeat,
Toni Rubio,
Audionom,
ABBA,
Newcleus,
Fifty Foot Hose,
The Fall,
The Gories,
James Chance & The Contortions,
Kango’s Stein Massive,
Thinking Fellers Union Local 282,
Marmalade,
Cabaret Voltaire,
Ash Ra Tempel,
The Smoke,
Gang Starr,
Alphaville,
Gary Puckett & The Union Gap,
Soft Machine,
John Foxx,
cv313,
The West Coast Pop Art Experimental Band,
Junior Murvin,
Mars,
The Invisible,
Sugar Minott,
Red Lorry Yellow Lorry,
Little Man,
Crooked Eye,
Ajijia Myrayebe,
Pylon,
New Order,
Richard Hell and the Voidoids,
The American Breed,
Anakelly,
Gabor Szabo,
The Modern Lovers,
Icehouse,
June of 44,
Vaughan Mason & Crew,
Camouflage,
Marshall Jefferson,
Can,
Sun City Girls,
Beasts of Bourbon,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.