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 Zimbabwe and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
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 clarinet 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 Sexual Harrassment to the grime 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 Basic Channel. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every The Sound 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 '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Procol Harum,
the Germs,
Man Parrish,
The Golliwogs,
Maurizio,
Rhythm & Sound,
Graham Central Station,
L. Decosne,
OOIOO,
MC5,
Chrome,
Yazoo,
Big Daddy Kane,
Kool G Rap & DJ Polo,
Easy Going,
Lightning Bolt,
ABC,
Eric Dolphy,
Royal Trux,
Oblivians,
Reagan Youth,
Davy DMX,
Charles Mingus,
The Fuzztones,
Eden Ahbez,
Joyce Sims,
Minny Pops,
Mark Hollis,
Oneida,
Kings Of Tomorrow,
Justin Hinds & The Dominoes,
Althea and Donna,
The West Coast Pop Art Experimental Band,
Television Personalities,
Gil Scott Heron,
Howard Jones,
Kerrie Biddell,
Quando Quango,
Sly & The Family Stone,
Brick,
Desert Stars,
The Pop Group,
The Grass Roots,
Jacob Miller,
Rapeman,
Animal Collective,
Sixth Finger,
Angry Samoans,
China Crisis,
World's Most,
Hot Snakes,
the Association,
Notorious Big And Bone Thugs,
Joe Finger,
Cheater Slicks,
The Young Rascals,
The Fall,
Skriet,
Deutsch Amerikanische Freundschaft,
La Düsseldorf,
Flipper, Flipper, Flipper, Flipper.
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.