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 Austria and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Bad Manners to the jazz 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 Glambeats Corp.. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
The Durutti Column,
Ronnie Foster,
Terrestrial Tones,
Neil Young & Crazy Horse,
Fad Gadget,
Art Ensemble Of Chicago,
Circle Jerks,
The Pretty Things,
Deakin,
Peter and Kerry,
Sunsets and Hearts,
The Index,
Royal Trux,
Main Source,
Talk Talk,
Blancmange,
New Order,
B.T. Express,
Skarface,
La Düsseldorf,
Thinking Fellers Union Local 282,
Erasure,
Manfred Mann's Earth Band,
Sarah Menescal,
Cecil Taylor,
Fela Kuti,
Jerry Gold Smith,
Lalann,
Roy Ayers Ubiquity,
Nas,
The United States of America,
Jeru the Damaja,
Rakim,
Scientists,
Arthur Verocai,
The Dirtbombs,
Black Sheep,
Amon Düül II,
The Jesus and Mary Chain,
Qualms,
Vladislav Delay,
Soft Cell,
Excepter,
It's A Beautiful Day,
Aswad,
The Offenders,
The Doobie Brothers,
Banda Bassotti,
Sticky Fingaz feat. Raekwon,
Barrington Levy,
The Misunderstood,
The Victims,
Bronski Beat,
The Pop Group,
Derrick Morgan,
Nico,
Danielle Patucci,
Minnie Riperton,
Boz Scaggs,
the Normal, the Normal, the Normal, the Normal.
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.