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 Costa Rica and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Ituana to the electroclash kids.
I played it at the Hacienda.
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 Eric Dolphy. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Joyce Sims,
Mad Mike,
T. Rex,
Matthew Bourne,
Maurizio,
Visage,
Juan Atkins,
Scan 7,
Howard Jones,
Terry Callier,
Byron Stingily,
Livin' Joy,
KRS-One,
Sandy B,
Harpers Bizarre,
Pierre Henry,
Gian Franco Pienzio,
The Searchers,
Camron Feat. Jay Z And Juelz,
The Sound,
Kurtis Blow,
Surgeon,
Skaos,
Interpol,
Sad Lovers and Giants,
Eric Dolphy,
Sällskapet,
H. Thieme,
Manfred Mann's Earth Band,
Electric Prunes,
Anthony Braxton,
The Fortunes,
the Bar-Kays,
Kas Product,
Fluxion,
Goldenarms,
John Lydon,
Joey Negro,
Khruangbin,
Laurel Aitken,
Eden Ahbez,
Boz Scaggs,
Jeff Lynne,
Cymande,
Janne Schatter,
Albert Ayler,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nation of Ulysses,
The Martian,
Wings,
June of 44,
Make Up,
Fort Wilson Riot,
Index,
Black Flag,
Gong,
Matthew Halsall,
Selector Dub Narcotic,
The Sonics,
The New Christs,
Scientists,
Monks,
The Move, The Move, The Move, The Move.
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.