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 Bhutan and from Sao Paulo.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Edmonton.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 The Count Five to the punk kids.
I played it at the Spitz.
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 Pussy Galore. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Rhythm & Sound,
James Chance & The Contortions,
Laurel Aitken,
Maleditus Sound,
The Misunderstood,
Big Daddy Kane,
The Flesh Eaters,
Grandmaster Flash,
Maurizio,
Kerrie Biddell,
R.M.O.,
Pet Shop Boys,
John Lydon,
Idris Muhammad,
Tomorrow,
Harry Pussy,
Notorious BIG live in Amsterdam,
The Victims,
ABC,
Todd Rundgren,
Kerri Chandler,
Pantytec,
E-Dancer,
Dorothy Ashby,
Aaron Thompson,
Blancmange,
Excepter,
Urselle,
Gregory Isaacs,
Nick Fraelich,
Jeff Lynne,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
Camron Feat. Jay Z And Juelz,
X-Ray Spex,
Livin' Joy,
Man Parrish,
Ponytail,
The Saints,
Ajijia Myrayebe,
Bauhaus,
Magazine,
Metal Thangz,
Au Pairs,
Qualms,
Yusef Lateef,
The Angels of Light,
Gong,
Sight & Sound,
Sonny Sharrock,
kango's stein massive,
Lou Christie,
Audionom,
Fat Boys,
Eric Dolphy,
Thinking Fellers Union Local 282,
John Holt,
Al Stewart,
a-ha,
Masters at Work,
Barry Ungar,
Justin Hinds & The Dominoes,
Depeche Mode,
Joy Division, Joy Division, Joy Division, Joy Division.
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.