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 Armenia and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1963 to 1970.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Copenhagen 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 organ sounds with much patience.
I was there when Michael McDonald 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 Knickerbockers to the electroclash kids.
I played it at Trash.
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 Gang Green. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Terry Callier 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 '70s.
I hear you're buying a spring reverb 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 chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Funkadelic,
Andrew Ashong & Theo Parrish,
Godley & Creme,
Louis and Bebe Barron,
Section 25,
Bronski Beat,
Infiniti,
Dorothy Ashby,
8 Eyed Spy,
Juan Atkins,
The Pop Group,
The United States of America,
Cabaret Voltaire,
The J.B.'s,
The Evens,
R.M.O.,
Youth Brigade,
Swell Maps,
Camberwell Now,
Loose Ends,
U.S. Maple,
Amon Düül,
Severed Heads,
Suburban Knight,
Black Moon,
Lizzy Mercier Descloux,
Khruangbin,
Marshall Jefferson,
Sad Lovers and Giants,
Marc Almond,
The Barracudas,
Reagan Youth,
Vladislav Delay,
Harmonia,
Los Fastidios,
Wire,
Altered Images,
Erasure,
The Count Five,
Ten City,
Lonnie Liston Smith,
Bobby Sherman,
Rowland S Howard / Lydia Lunch,
Joe Smooth,
The Standells,
EPMD,
Michelle Simonal,
David McCallum,
Stereo Dub,
John Foxx,
Negative Approach,
Sun Ra,
The West Coast Pop Art Experimental Band,
Warsaw,
Justin Hinds & The Dominoes,
Sister Nancy,
Gang Starr,
Teenage Jesus and the Jerks,
Crispian St. Peters,
The Star Department,
The Vogues, The Vogues, The Vogues, The Vogues.
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.