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 Tanzania and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Chris & Cosey to the electroclash kids.
I played it at the Spitz.
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 PIL. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ 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 harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Grass Roots,
Funkadelic,
X-Ray Spex,
Gil Scott-Heron & Brian Jackson,
This Heat,
Gang of Four,
Beasts of Bourbon,
Lower 48,
The Buckinghams,
ABC,
Supertramp,
Minny Pops,
Khruangbin,
Technova,
Franke,
Lakeside,
Todd Rundgren,
Electric Prunes,
Bobby Sherman,
The Seeds,
Panda Bear,
Tim Buckley,
Sugar Minott,
T. Rex,
Jimmy McGriff,
Desert Stars,
Pierre Henry,
Sight & Sound,
Half Japanese,
Gabor Szabo,
The Mighty Diamonds,
Curtis Mayfield,
Erasure,
MDC,
The Modern Lovers,
Red Lorry Yellow Lorry,
Magazine,
The Pop Group,
Dark Day,
10cc,
Trumans Water,
Brass Construction,
Terror Squad Feat. Camron,
Model 500,
Ultimate Spinach,
Cluster,
Lou Reed & Metallica,
The New Christs,
Lee Hazlewood,
Ohio Players,
Erykah Badu,
The Sound,
Sonny Sharrock,
the Soft Cell,
Roy Ayers Ubiquity,
The Birthday Party,
Masters at Work,
Television,
World's Most,
Kauko Röyhkä ja Narttu,
Janne Schatter,
Echo & the Bunnymen,
Pylon,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.