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 Niger and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Lagos 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Bang On A Can to the grime 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 Negative Approach. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal punk 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 a güiro and a spring reverb 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Rod Modell,
Nick Fraelich,
Peter Gordon & Love of Life Orchestra,
Eyeless In Gaza,
The Stooges,
Altered Images,
The Cure,
Bang On A Can,
MC5,
Lou Christie,
Scion,
The Human League,
Organ,
Dorothy Ashby,
Marshall Jefferson,
Barry Ungar,
Howard Jones,
World's Most,
Terry Callier,
Excepter,
Moby Grape,
The Gun Club,
Sun City Girls,
The Chocolate Watch Band,
Boredoms,
Funkadelic,
Tommy Roe,
Connie Case,
The Royal Family And The Poor,
Bobby Sherman,
Pharaoh Sanders and the Fire Engines,
The Doors,
Wings,
Quando Quango,
Neil Young & Crazy Horse,
The Cowsills,
The Happenings,
Little Man,
Grandmaster Flash and the Furious Five,
Manfred Mann's Earth Band,
Technova,
Tubeway Army,
Bill Near,
Captain Beefheart & His Magic Band,
Average White Band,
Cabaret Voltaire,
Los Fastidios,
Oblivians,
Banda Bassotti,
Joy Division,
Flipper,
Lyres,
Matthew Bourne,
Arcadia,
Sällskapet,
Toni Rubio,
Gil Scott-Heron & Brian Jackson,
The Electric Prunes,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.