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 Liechtenstein and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Tokyo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Black Sheep to the crunk 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 James Chance & The Contortions. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every The Associates 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 '70s cut and another box set from the '80s.
I hear you're buying a snare 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 harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Andrew Hill,
Moby Grape,
Blossom Toes,
Don Cherry,
The Cure,
Jacques Brel,
The Smoke,
Orchestral Manoeuvres in the Dark,
Donny Hathaway,
Warsaw,
Beasts of Bourbon,
Accadde A,
Smog,
Althea and Donna,
Lakeside,
The Neon Judgement,
La Düsseldorf,
Boogie Down Productions,
Mark Hollis,
John Lydon,
Avey Tare,
Amazonics,
UT,
Nick Cave & The Bad Seeds,
Bronski Beat,
ABBA,
Alton Ellis,
The Toasters,
Boz Scaggs,
Captain Beefheart & His Magic Band,
48th St. Collective,
Angry Samoans,
Silicon Teens,
Reuben Wilson,
Johnny Osbourne,
This Heat,
Todd Rundgren,
Crime,
PIL,
Wasted Youth,
Patti Smith,
Dual Sessions,
Harry Pussy,
The Leaves,
Echo & the Bunnymen,
Altered Images,
Whodini,
Surgeon,
Tomorrow,
Juan Atkins,
Television,
R.M.O.,
Wighnomy Brothers & Robag Wruhme,
Roy Ayers,
Country Joe & The Fish,
Dawn Penn,
John Foxx,
cv313,
Man Parrish,
The Black Dice,
Delon & Dalcan,
New York Dolls,
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.