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 Cape Verde and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Brass Construction to the rap 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 Groovy Waters. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer 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 synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
June of 44,
Mark Hollis,
Blossom Toes,
Essential Logic,
Circle Jerks,
Saccharine Trust,
Alphaville,
Make Up,
Echospace,
Eurythmics,
Gil Scott Heron,
Judy Mowatt,
Sixth Finger,
Kango’s Stein Massive,
Sparks,
Justin Hinds & The Dominoes,
Silicon Teens,
Ponytail,
Rufus Thomas,
UT,
Notorious BIG live in Amsterdam,
Grandmaster Flash and the Furious Five,
Connie Case,
Young Marble Giants,
Marcia Griffiths,
Terrestrial Tones,
Ronan,
Electric Prunes,
Grandmaster Flash,
Lou Reed & Metallica,
Hardrive,
Liaisons Dangereuses,
Country Joe & The Fish,
Cal Tjader,
Flipper,
Drive Like Jehu,
DNA,
Wings,
The Real Kids,
Althea and Donna,
Sound Behaviour,
Stereo Dub,
The Durutti Column,
E-Dancer,
Wighnomy Brothers & Robag Wruhme,
Jimmy McGriff,
Susan Cadogan,
The Electric Prunes,
Bronski Beat,
The Neon Judgement,
Godley & Creme,
Dawn Penn,
Freddie Wadling,
The Blues Magoos,
Ultravox,
The Wake,
John Holt,
Pussy Galore,
Public Image Ltd.,
Black Flag,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.