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 Grenada and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Lagos 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Teenage Jesus and the Jerks to the rock kids.
I played it at the Hacienda.
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 Rites of Spring. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
The West Coast Pop Art Experimental Band,
Drexciya,
Derrick May,
Dorothy Ashby,
Jesper Dahlbäck,
The Angels of Light,
The United States of America,
Funkadelic,
Crash Course in Science,
Jerry's Kids,
Supertramp,
Ultravox,
Ice-T,
Yazoo,
Bill Wells,
Fort Wilson Riot,
Dave Gahan,
Don Cherry,
Man Parrish,
Pussy Galore,
The Remains,
Crispian St. Peters,
Circle Jerks,
Traffic Nightmare,
Bauhaus,
Procol Harum,
EPMD,
Nas,
Kool Moe Dee,
OOIOO,
Scrapy,
Cecil Taylor,
Adolescents,
James White and The Blacks,
Terrestrial Tones,
Swans,
Liaisons Dangereuses,
Zapp,
Spoonie Gee,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Anthony Braxton,
JFA,
Amazonics,
Fluxion,
The Blues Magoos,
The Shadows of Knight,
ABC,
Camron Feat. Memphis Bleek And Beenie Seigel,
James Chance & The Contortions,
Sam Rivers,
The Mummies,
Absolute Body Control,
Metal Thangz,
Ash Ra Tempel,
the Slits,
Marine Girls,
Television,
Steve Hackett,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.