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 Netherlands and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school London 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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Kango’s Stein Massive 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 Prince Buster. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a harpsichord 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
The Litter,
Sparks,
Albert Ayler,
X-101,
Neil Young & Crazy Horse,
Fad Gadget,
Joensuu 1685,
Soul II Soul,
The Remains,
Amazonics,
Gichy Dan,
Pierre Henry,
Kas Product,
Royal Trux,
Ohio Players,
Motorama,
The West Coast Pop Art Experimental Band,
Rakim,
Stereo Dub,
Brand Nubian,
KRS-One,
Aaron Thompson,
Half Japanese,
The Velvet Underground,
Byron Stingily,
Pole,
Aswad,
Masters at Work,
Whodini,
Funkadelic,
Swans,
The Count Five,
Supertramp,
Infiniti,
Youth Brigade,
Bobbi Humphrey,
The Peanut Butter Conspiracy,
Judy Mowatt,
Gil Scott Heron,
Bootsy Collins,
James White and The Blacks,
Stockholm Monsters,
Fear,
The Evens,
Fela Kuti,
The Sound,
Mars,
Alice Coltrane,
Yusef Lateef,
Girls At Our Best!,
Model 500,
Camberwell Now,
Skriet,
The New Christs,
Sonic Youth,
Dennis Brown,
Janne Schatter,
Joy Division,
Manfred Mann's Earth Band,
Echo & the Bunnymen,
Peter & Gordon,
Patti Smith,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.