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 Syria and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Seoul 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 Second Layer practice in a loft in South London.
I was working on the rhodes 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 Yusef Lateef to the rock 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 The Invisible. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and an organ 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Eyeless In Gaza,
Arcadia,
Sixth Finger,
The Martian,
Niagra,
Todd Terry,
David Axelrod,
Warren Ellis,
Tears for Fears,
Hoover,
Jimmy McGriff,
Robert Hood,
The Young Rascals,
Toni Rubio,
Desert Stars,
Lakeside,
Heavy D & The Boyz,
The United States of America,
Duran Duran,
Derrick May,
Camouflage,
Arthur Verocai,
Todd Rundgren,
Morten Harket,
Motorama,
Funkadelic,
Glenn Branca,
James White and The Blacks,
A Certain Ratio,
Joey Negro,
In Retrospect,
Fifty Foot Hose,
Adolescents,
Dr. Dre and Snoop Doggy Dog,
Wire,
Stereo Dub,
Unrelated Segments,
Jacob Miller,
Surgeon,
Hot Snakes,
Soft Machine,
Man Eating Sloth,
Maleditus Sound,
Shoche,
Black Pus,
Spoonie Gee,
Angry Samoans,
Sly & The Family Stone,
Sister Nancy,
Eli Mardock,
The Buckinghams,
Thee Headcoats,
Ice-T,
Lightning Bolt,
The Neon Judgement,
The Durutti Column,
New York Dolls,
Kurtis Blow,
Stetsasonic,
Kerrie Biddell,
Pere Ubu,
Charles Mingus,
The Detroit Cobras,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.