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 Guinea and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Salvador 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 Associates to the funk 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 Barbara Tucker. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Man Parrish 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Fort Wilson Riot,
Gil Scott-Heron and Jamie xx,
Quantec,
Black Bananas,
Flash Fearless,
Gang Green,
Scott Walker,
Bush Tetras,
Gichy Dan,
Lou Reed & John Cale,
Toni Rubio,
Black Flag,
The Mojo Men,
the Bar-Kays,
The Happenings,
Thee Headcoats,
Bang On A Can,
Saccharine Trust,
Scratch Acid,
Major Organ And The Adding Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scion,
Los Fastidios,
Siglo XX,
Rhythm & Sound,
Kas Product,
EPMD,
Depeche Mode,
Second Layer,
Sexual Harrassment,
The Motions,
Altered Images,
Kool Moe Dee,
Newcleus,
Loose Ends,
Black Pus,
Bobby Hutcherson,
Underground Resistance,
Simply Red,
Tropical Tobacco,
Red Lorry Yellow Lorry,
Easy Going,
Mission of Burma,
The Gories,
Rahsaan Roland Kirk,
The Mummies,
Josef K,
The Dead C,
Inner City,
Massinfluence,
Andrew Hill,
Pylon,
Throbbing Gristle,
Amon Düül II,
Heavy D & The Boyz,
Stockholm Monsters,
Tears for Fears,
Notorious BIG live in Amsterdam,
Yazoo,
Michelle Simonal,
The Young Rascals,
Mandrill, Mandrill, Mandrill, Mandrill.
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.