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 Haiti and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 The Cosmic Jokers to the dance 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 Pere Ubu. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Ronan record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a guitar 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Peter and Kerry,
Robert Wyatt,
Severed Heads,
Black Pus,
Nation of Ulysses,
K-Klass,
Richard Hell and the Voidoids,
Tommy Roe,
Television Personalities,
Joensuu 1685,
Judy Mowatt,
The Monochrome Set,
Lonnie Liston Smith,
Robert Hood,
Barclay James Harvest,
Bang on a Can All-Stars,
DeepChord presents Echospace,
Junior Murvin,
Alton Ellis,
Matthew Bourne,
Outsiders,
The Walker Brothers,
Little Man,
Babytalk,
Bobby Hutcherson,
Connie Case,
10cc,
Oneida,
The Vogues,
Beasts of Bourbon,
Lou Reed & John Cale,
Pussy Galore,
the Association,
Sam Rivers,
Cal Tjader,
Interpol,
Tropical Tobacco,
Radiopuhelimet,
Lee Hazlewood,
The Evens,
Buzzcocks,
Bizarre Inc.,
Funky Four + One,
Prince Buster,
Hoover,
AZ,
Arcadia,
Lebanon Hanover,
Bluetip,
New York Dolls,
Sly & The Family Stone,
The Detroit Cobras,
Harpers Bizarre,
Marc Almond,
Gastr Del Sol,
Desert Stars,
Mo-Dettes,
The Angels of Light,
Flipper,
Scion, Scion, Scion, Scion.
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.