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 Vanuatu and from Woodstock.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Roger Hodgson to the crunk kids.
I played it at the Crocodile.
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 The Last Poets. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Divine Comedy,
Richard Hell and the Voidoids,
Letta Mbulu,
Warren Ellis,
The Neon Judgement,
Gian Franco Pienzio,
Loose Ends,
Sparks,
Man Parrish,
Susan Cadogan,
Hasil Adkins,
A Certain Ratio,
The Offenders,
Eddi Front,
Cecil Taylor,
Lakeside,
AZ,
New Order,
Cabaret Voltaire,
Eric B and Rakim,
Blake Baxter,
Zero Boys,
Rhythim Is Rhythim,
Massinfluence,
The Skatalites,
Kas Product,
Royal Trux,
Livin' Joy,
The Trojans,
K-Klass,
Althea and Donna,
Tomorrow,
Aural Exciters,
The Cure,
Eric Copeland,
Flipper,
Severed Heads,
The Gun Club,
Fugazi,
John Holt,
Ajijia Myrayebe,
Ohio Players,
The New Christs,
Unwound,
the Human League,
The Flesh Eaters,
Magazine,
The Pop Group,
Mission of Burma,
New Age Steppers,
Lou Reed & Metallica,
Joey Negro,
The Wake,
Hardrive,
Lebanon Hanover,
Graham Central Station,
Donald Byrd,
The Royal Family And The Poor,
Brass Construction,
Country Teasers,
Average White Band,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.