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 Bangladesh and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Harry Pussy to the techno kids.
I played it at the Roxy.
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 Vaughan Mason & Crew. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Kevin Saunderson 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Sly & The Family Stone,
The Neon Judgement,
Dorothy Ashby,
Chris & Cosey,
Section 25,
Marvin Gaye,
The Mighty Diamonds,
Lakeside,
Sun City Girls,
L. Decosne,
OOIOO,
X-Ray Spex,
The Grass Roots,
Fluxion,
Louis and Bebe Barron,
Ohio Players,
The Fire Engines,
Shuggie Otis,
Gang of Four,
Altered Images,
Amon Düül II,
Slick Rick,
Ituana,
Thee Headcoats,
Von Mondo,
Glambeats Corp.,
Bobby Hutcherson,
Robert Wyatt,
Arab on Radar,
Camron Feat. Jay Z And Juelz,
The Gladiators,
Patti Smith,
The Moody Blues,
Ornette Coleman,
Bush Tetras,
Notorious BIG live in Amsterdam,
Shoche,
The Alarm Clocks,
Davy DMX,
Crash Course in Science,
Sun Ra,
Sonic Youth,
Massinfluence,
The Martian,
Excepter,
The Angels of Light,
Surgeon,
The Knickerbockers,
Black Flag,
Chrome,
Model 500,
The Walker Brothers,
F. McDonald,
Peter and Kerry,
Amazonics,
Idris Muhammad,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Das Ding,
Flamin' Groovies,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.