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 Ireland and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1973.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Walker Brothers to the crunk 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 The Chocolate Watch Band. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Minutemen 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
a-ha,
Skaos,
Don Cherry,
Massinfluence,
Angry Samoans,
X-102,
Notorious BIG live in Amsterdam,
The Pop Group,
Wighnomy Brothers & Robag Wruhme,
Rowland S Howard / Lydia Lunch,
DeepChord presents Echospace,
Ohio Players,
A Flock of Seagulls,
Josef K,
Black Flag,
The Smoke,
Wally Richardson,
Rapeman,
Wire,
Piero Umiliani,
Drexciya,
Nirvana,
Clear Light,
Stiv Bators,
Oneida,
Roxette,
the Association,
The United States of America,
Monolake,
The Cosmic Jokers,
Lucky Dragons,
Procol Harum,
Tomorrow,
Duran Duran,
Inner City,
Gerry Rafferty,
Ten City,
Little Man,
DNA,
Fad Gadget,
The Victims,
The New Christs,
Fluxion,
Flipper,
New York Dolls,
Jeff Mills,
Flash Fearless,
The Standells,
Marcia Griffiths,
Jacques Brel,
The Seeds,
Suicide,
Infiniti,
JFA,
Minor Threat,
Bill Wells,
The Dirtbombs,
Dorothy Ashby,
Fat Boys,
Major Organ And The Adding Machine,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.