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 Afghanistan and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Evens to the electroclash kids.
I played it at the Troubador.
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 Ornette Coleman. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin 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 theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Jeff Mills,
Eddi Front,
Guru Guru,
Kurtis Blow,
Lalo Schifrin,
Avey Tare's Slasher Flicks,
Agitation Free,
Television Personalities,
Fifty Foot Hose,
The Sisters of Mercy,
Sexual Harrassment,
The Selecter,
Justin Hinds & The Dominoes,
Kauko Röyhkä ja Narttu,
Soul Sonic Force,
The Smiths,
Lungfish,
Henry Cow,
It's A Beautiful Day,
Lizzy Mercier Descloux,
Aural Exciters,
Roy Ayers,
Bronski Beat,
The Detroit Cobras,
La Düsseldorf,
The Alarm Clocks,
Gian Franco Pienzio,
Joey Negro,
Stereo Dub,
The Toasters,
Slick Rick,
Thompson Twins,
E-Dancer,
Radiohead,
The Last Poets,
Los Fastidios,
Ultimate Spinach,
New York Dolls,
Todd Terry,
Toni Rubio,
Zapp,
Eli Mardock,
Essential Logic,
Black Pus,
Connie Case,
Warsaw,
the Soft Cell,
Clear Light,
London Community Gospel Choir,
The Human League,
Mr. Review,
Strawberry Alarm Clock,
Swell Maps,
Interpol,
Heavy D & The Boyz,
Cluster,
The Cowsills,
Masters at Work,
Motorama,
Andrew Ashong & Theo Parrish,
Tears for Fears,
Monks, Monks, Monks, Monks.
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.