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 Egypt and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Manchester 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin 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 Five Americans to the grunge kids.
I played it at Cafe Wha.
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 Rhythm & Sound. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Golliwogs 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Eve St. Jones,
Byron Stingily,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Alarm Clocks,
Lyres,
Harry Pussy,
Grandmaster Flash,
The Cowsills,
Minor Threat,
Marc Almond,
Aloha Tigers,
T.S.O.L.,
Swans,
Minnie Riperton,
Gil Scott Heron,
Theoretical Girls,
The Moody Blues,
Oppenheimer Analysis,
Mission of Burma,
Slave,
Sight & Sound,
The Fortunes,
B.T. Express,
The Happenings,
FM Einheit,
Blake Baxter,
Notorious Big And Bone Thugs,
The Dave Clark Five,
Jerry Gold Smith,
kango's stein massive,
D'Angelo,
It's A Beautiful Day,
Second Layer,
Tom Boy,
Ludus,
Art Ensemble Of Chicago,
Frankie Knuckles,
Cluster,
The Vogues,
Sex Pistols,
Von Mondo,
Aswad,
Avey Tare,
Fort Wilson Riot,
Radiopuhelimet,
10cc,
Bad Manners,
Funky Four + One,
Eyeless In Gaza,
Morten Harket,
Man Parrish,
Agent Orange,
China Crisis,
Colin Newman,
The West Coast Pop Art Experimental Band,
The Seeds,
Deepchord,
Ralphi Rosario,
Visage,
Young Marble Giants,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.