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 Uganda and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Accra 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 Chic practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 James Chance & The Contortions to the grunge 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 Eli Mardock. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every John Cale 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 guitar and a spring reverb 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 theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Tom Boy,
The Dave Clark Five,
John Holt,
Morten Harket,
Johnny Clarke,
Fat Boys,
Lungfish,
The Peanut Butter Conspiracy,
Bad Manners,
kango's stein massive,
The Move,
48th St. Collective,
Stereo Dub,
Thinking Fellers Union Local 282,
Matthew Bourne,
Larry & the Blue Notes,
Scratch Acid,
Half Japanese,
Jawbox,
Erasure,
Television,
The Monochrome Set,
Idris Muhammad,
The Searchers,
Black Sheep,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lindisfarne,
Stiv Bators,
Desert Stars,
Sam Rivers,
Gil Scott Heron,
The Kinks,
Cameo,
Simply Red,
Lizzy Mercier Descloux,
The Blues Magoos,
Richard Hell and the Voidoids,
Infiniti,
Barrington Levy,
T. Rex,
Jerry Gold Smith,
Alison Limerick,
DeepChord presents Echospace,
Röyhkä ja Rättö ja Lehtisalo,
Negative Approach,
Marshall Jefferson,
Rod Modell,
Notorious Big And Bone Thugs,
10cc,
Eve St. Jones,
The Golliwogs,
Orchestral Manoeuvres in the Dark,
Funky Four + One,
Drexciya,
Jeff Mills,
The Red Krayola,
Avey Tare's Slasher Flicks,
Liaisons Dangereuses,
Mark Hollis,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.