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 Guyana and from Glasgow.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Portland 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Sight & Sound to the techno 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 Niagra. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron 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 marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Trumans Water,
World's Most,
Ronan,
Girls At Our Best!,
Easy Going,
Intrusion,
Roy Ayers,
Yaz,
The Angels of Light,
Motorama,
Colin Newman,
Siouxsie and the Banshees,
Animal Collective,
Avey Tare,
Man Eating Sloth,
Jesper Dahlback,
Jeff Mills,
Sällskapet,
OOIOO,
Scott Walker,
Kerri Chandler,
Spandau Ballet,
Black Bananas,
The Kinks,
Kings Of Tomorrow,
Organ,
Jandek,
Gang of Four,
Ice-T,
Pole,
Matthew Bourne,
Harmonia,
Royal Trux,
The Toasters,
Lizzy Mercier Descloux,
Babytalk,
The Skatalites,
Wolf Eyes,
Sound Behaviour,
PIL,
The Five Americans,
Minutemen,
T.S.O.L.,
Alton Ellis,
The Residents,
Deutsch Amerikanische Freundschaft,
Ash Ra Tempel,
Thompson Twins,
Lower 48,
Sun Ra Arkestra,
Brass Construction,
Das Ding,
Clear Light,
Deakin,
Eric Copeland,
Funky Four + One,
Josef K,
Lalo Schifrin,
Reagan Youth,
Eric Dolphy,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.