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 Botswana and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Soft Cell to the grime kids.
I played it at the 40 Watt.
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 Bobby Womack. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe 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 theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Terry Callier,
Cabaret Voltaire,
Fort Wilson Riot,
World's Most,
Yaz,
Patti Smith,
The Blues Magoos,
The Alarm Clocks,
James White and The Blacks,
Pylon,
Sister Nancy,
the Human League,
The Slackers,
Eddi Front,
Carl Craig,
Hot Snakes,
Faraquet,
the Normal,
Maurizio,
Fear,
Japan,
Roxette,
Selector Dub Narcotic,
The Barracudas,
Man Parrish,
Neil Young & Crazy Horse,
Cameo,
Curtis Mayfield,
Gil Scott Heron,
Bauhaus,
Graham Central Station,
Avey Tare,
Procol Harum,
Quantec,
Technova,
Warren Ellis,
A Certain Ratio,
Soft Cell,
Junior Murvin,
Metal Thangz,
Liliput,
The Fugs,
Ohio Players,
Bob Dylan,
Stereo Dub,
Radiopuhelimet,
Jimmy McGriff,
Steve Hackett,
Liaisons Dangereuses,
Harpers Bizarre,
Pharoah Sanders,
X-101,
Lou Reed & John Cale,
Pharaoh Sanders and the Fire Engines,
Little Man,
Flamin' Groovies,
Lightning Bolt,
MC5,
Frankie Knuckles,
Anthony Braxton,
Todd Rundgren,
Roger Hodgson,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.