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 Australia 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 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Marc Almond to the techno kids.
I played it at CBGB's.
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 Black Bananas. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet 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 arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Yellowson,
Aswad,
Isaac Hayes,
Drive Like Jehu,
E-Dancer,
Mary Jane Girls,
Skaos,
Moebius,
Essential Logic,
The Music Machine,
Eric Copeland,
Scott Walker + Sunn O))),
Radiohead,
Sonny Sharrock,
Barbara Tucker,
Kango’s Stein Massive,
Bob Dylan,
Brick,
The Saints,
Massinfluence,
Country Teasers,
Notorious Big And Bone Thugs,
Mr. Review,
Cal Tjader,
The Star Department,
U.S. Maple,
Brass Construction,
Nik Kershaw,
Masters at Work,
MC5,
Kas Product,
Cymande,
Bluetip,
Radiopuhelimet,
Theoretical Girls,
Bizarre Inc.,
Wire,
Warsaw,
Captain Beefheart & His Magic Band,
Outsiders,
Robert Görl,
Teenage Jesus and the Jerks,
Loose Ends,
Warren Ellis,
Faust,
Surgeon,
Jacob Miller,
The Slackers,
Rahsaan Roland Kirk,
Neil Young & Crazy Horse,
Steve Hackett,
Livin' Joy,
Shoche,
Zero Boys,
Faraquet,
Barry Ungar,
The Slits,
The Remains,
The Blues Magoos,
Hardrive,
John Holt, John Holt, John Holt, John Holt.
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.