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 Mali and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Salvador and Houston.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Negative Approach 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 Pierre Henry. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Camouflage 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe 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 an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Make Up,
Don Cherry,
Piero Umiliani,
Boz Scaggs,
Major Organ And The Adding Machine,
The Modern Lovers,
Infiniti,
B.T. Express,
Eric B and Rakim,
Oppenheimer Analysis,
Soulsonic Force,
Theoretical Girls,
Susan Cadogan,
the Bar-Kays,
Mark Hollis,
Ten City,
Reuben Wilson,
Mad Mike,
Dual Sessions,
Fluxion,
The Flesh Eaters,
James White and The Blacks,
Bobby Byrd,
David Axelrod,
The Cure,
Barrington Levy,
Sun City Girls,
Rhythm & Sound,
The Motions,
Franke,
Monolake,
Scratch Acid,
Ronan,
Boredoms,
Procol Harum,
Q65,
Fugazi,
Kaleidoscope,
Ice-T,
Section 25,
Cameo,
Gabor Szabo,
Television,
Wighnomy Brothers & Robag Wruhme,
Ken Boothe,
The Selecter,
June Days,
Bauhaus,
Flamin' Groovies,
The Golliwogs,
Fort Wilson Riot,
Nirvana,
Easy Going,
Kas Product,
Subhumans,
Can,
Visionaries,LMNO, T- Love & Iriscience,
In Retrospect,
Depeche Mode,
Tres Demented,
Young Marble Giants,
The Toasters, The Toasters, The Toasters, The Toasters.
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.