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 Gabon and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 Black Flag to the rap kids.
I played it at the Troubador.
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 Tropical Tobacco. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Man Eating Sloth 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Infiniti,
Joensuu 1685,
Lou Reed,
Harmonia,
cv313,
The Techniques,
F. McDonald,
Oppenheimer Analysis,
10cc,
Flash Fearless,
Bootsy Collins,
Roy Ayers,
Selector Dub Narcotic,
Lightning Bolt,
Goldenarms,
The Sisters of Mercy,
OOIOO,
Spandau Ballet,
PIL,
Sun City Girls,
Cameo,
The Modern Lovers,
Kerrie Biddell,
Soul II Soul,
Liaisons Dangereuses,
The Jesus and Mary Chain,
The Selecter,
Camouflage,
Pete Rock & C.L. Smooth,
The Zeros,
Suburban Knight,
The Victims,
Lou Christie,
Can,
The Dave Clark Five,
Neu!,
London Community Gospel Choir,
Khruangbin,
Flipper,
The United States of America,
Fatback Band,
Bang on a Can All-Stars,
Outsiders,
Babytalk,
Brand Nubian,
Lakeside,
Newcleus,
Kevin Saunderson,
Hot Snakes,
Barry Ungar,
CMW,
Sticky Fingaz feat. Raekwon,
Lizzy Mercier Descloux,
Dorothy Ashby,
Little Man,
EPMD,
Eve St. Jones,
Minutemen,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.