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 Ghana and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Bologna 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 Robert Palmer 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 Model 500 to the dance 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 Rosa Yemen. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum 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 rhodes and bought a güiro.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Pere Ubu,
Notorious Big And Bone Thugs,
Sun Ra Arkestra,
Underground Resistance,
James Chance & The Contortions,
Magazine,
In Retrospect,
Freddie Wadling,
Sarah Menescal,
Swell Maps,
Althea and Donna,
Tom Boy,
Motorama,
Wasted Youth,
James White and The Blacks,
Cheater Slicks,
Eyeless In Gaza,
Siglo XX,
Echo & the Bunnymen,
Chris Corsano,
the Swans,
The Monks,
Funkadelic,
Nik Kershaw,
Warsaw,
Ultra Naté,
Siouxsie and the Banshees,
Nils Olav,
Mars,
Visionaries,LMNO, T- Love & Iriscience,
Ultravox,
Howard Jones,
Reuben Wilson,
Magma,
Quantec,
Outsiders,
Gabor Szabo,
Desert Stars,
Fat Boys,
Lebanon Hanover,
Pantaleimon,
Joyce Sims,
EPMD,
Ten City,
Slave,
The Fire Engines,
Toni Rubio,
Alison Limerick,
Pet Shop Boys,
The Standells,
Eric Copeland,
Shuggie Otis,
One Last Wish,
Los Fastidios,
Lindisfarne,
The Fugs,
Stiv Bators,
Sly & The Family Stone,
Public Image Ltd.,
Dave Gahan,
Derrick May,
Louis and Bebe Barron,
Unrelated Segments,
World's Most, World's Most, World's Most, World's Most.
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.