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 Peru and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bologna and Calgary.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Crooked Eye to the dance kids.
I played it at the Astoria.
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 Carl Craig. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer 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 clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Blackbyrds,
Pussy Galore,
Niagra,
Camouflage,
The Barracudas,
Pharaoh Sanders and the Fire Engines,
Drive Like Jehu,
Susan Cadogan,
Masters at Work,
Kas Product,
the Germs,
Loose Ends,
Porter Ricks,
a-ha,
Kool Moe Dee,
Deadbeat,
Stetsasonic,
The Mighty Diamonds,
Strawberry Alarm Clock,
Art Ensemble Of Chicago,
Talk Talk,
Ice-T,
Siglo XX,
Moebius,
The Doors,
Ken Boothe,
The Fugs,
Kevin Saunderson,
10cc,
ABC,
Agent Orange,
Kurtis Blow,
The Men They Couldn't Hang,
Minor Threat,
Girls At Our Best!,
Scan 7,
Audionom,
The Residents,
Blake Baxter,
Massinfluence,
Kayak,
Scion,
Yusef Lateef,
The Sonics,
Tubeway Army,
Section 25,
Public Enemy,
The Tremeloes,
Albert Ayler,
Erasure,
Quantec,
Marine Girls,
The Mojo Men,
Accadde A,
Howard Jones,
The Names,
Kenny Larkin,
The Birthday Party,
Pagans,
Nas,
Cabaret Voltaire,
A Flock of Seagulls,
Jacob Miller,
Make Up, Make Up, Make Up, Make Up.
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.