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 Togo and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Half Japanese 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 Mr. Review. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Lyres 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 güiro and a harpsichord 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Metal Thangz,
The Names,
Warren Ellis,
Average White Band,
Pharaoh Sanders and the Fire Engines,
Bobby Hutcherson,
Essential Logic,
Altered Images,
Camberwell Now,
Malaria!,
The Velvet Underground,
Darondo,
the Human League,
Kenny Larkin,
The Skatalites,
Amazonics,
The Invisible,
Flash Fearless,
These Immortal Souls,
Con Funk Shun,
Alice Coltrane,
Roxette,
James Chance & The Contortions,
Groovy Waters,
Larry & the Blue Notes,
Hasil Adkins,
Negative Approach,
Beasts of Bourbon,
the Swans,
Lou Reed & Metallica,
Nick Fraelich,
The Wake,
Bootsy's Rubber Band,
Heavy D & The Boyz,
Lou Reed,
Porter Ricks,
Piero Umiliani,
John Cale,
Ash Ra Tempel,
Tropical Tobacco,
Nils Olav,
Sound Behaviour,
the Sonics,
Ponytail,
Wighnomy Brothers & Robag Wruhme,
The Grass Roots,
Spoonie Gee,
Chris & Cosey,
Black Moon,
Althea and Donna,
Pylon,
Japan,
The Associates,
Thee Headcoats,
PIL,
The Flesh Eaters,
Brand Nubian,
Barclay James Harvest,
Parry Music,
Jawbox, Jawbox, Jawbox, Jawbox.
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.