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 Benin and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Manila.
I'm losing my edge to the art-school Taipei 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Bobby Hutcherson to the electroclash kids.
I played it at the 40 Watt.
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 Todd Rundgren. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every The Velvet Underground 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Half Japanese,
Aaron Thompson,
Von Mondo,
James White and The Blacks,
Sly & The Family Stone,
The Searchers,
Moby Grape,
Matthew Bourne,
X-102,
the Association,
Kool G Rap & DJ Polo,
Big Daddy Kane,
Lindisfarne,
The Invisible,
X-Ray Spex,
Selector Dub Narcotic,
Sister Nancy,
Mars,
Oneida,
CMW,
Lungfish,
Manfred Mann's Earth Band,
The Wake,
World's Most,
Anakelly,
Gil Scott Heron,
10cc,
The Vogues,
A Certain Ratio,
June Days,
B.T. Express,
Danielle Patucci,
Ralphi Rosario,
Aswad,
Man Parrish,
The Moleskins,
Average White Band,
Stetsasonic,
Charles Mingus,
Ultravox,
The Toasters,
Interpol,
The Real Kids,
Maleditus Sound,
Pylon,
The Sonics,
Blake Baxter,
Thee Headcoats,
PIL,
The Saints,
Easy Going,
John Lydon,
The Gories,
Steve Hackett,
Radiopuhelimet,
Soulsonic Force,
Robert Görl,
Joe Finger,
Lou Christie,
Joe Smooth,
The Slackers, The Slackers, The Slackers, The Slackers.
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.