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 St Lucia and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Paris 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 Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Bush Tetras to the dance kids.
I played it at the Astoria.
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 Anakelly. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Matthew Bourne 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator 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 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Gang Green,
The Associates,
Excepter,
Judy Mowatt,
LL Cool J,
ABC,
Eric Dolphy,
Unrelated Segments,
Motorama,
Aural Exciters,
Harpers Bizarre,
Minnie Riperton,
Lightning Bolt,
Bobbi Humphrey,
Japan,
Mark Hollis,
New Order,
Lou Reed & Metallica,
Avey Tare,
Nils Olav,
Can,
Skaos,
Jeff Mills,
James White and The Blacks,
Sunsets and Hearts,
Rod Modell,
Lou Reed & John Cale,
The Techniques,
Wire,
Man Eating Sloth,
Big Daddy Kane,
Richard Hell and the Voidoids,
Kayak,
Man Parrish,
Shuggie Otis,
Lalo Schifrin,
Country Teasers,
KRS-One,
Stereo Dub,
Lucky Dragons,
Rekid,
Icehouse,
E-Dancer,
PIL,
Public Enemy,
Main Source,
Jerry Gold Smith,
Roy Ayers,
The Move,
Nick Cave & The Bad Seeds,
The Cure,
Barbara Tucker,
K-Klass,
Derrick May,
Rosa Yemen,
Kaleidoscope,
Ronan,
The Slackers,
The Angels of Light,
Moebius,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.