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 Dominica and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Tehran 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Althea and Donna to the grunge kids.
I played it at Trash.
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 Harpers Bizarre. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Rowland S Howard / Lydia Lunch,
Silicon Teens,
Terry Callier,
Bobbi Humphrey,
LL Cool J,
Kool G Rap & DJ Polo,
Crooked Eye,
Mandrill,
Tears for Fears,
Amon Düül II,
Stiv Bators,
Jacob Miller,
Groovy Waters,
Spoonie Gee,
Boogie Down Productions,
Girls At Our Best!,
The Sisters of Mercy,
Panda Bear,
The Selecter,
Mary Jane Girls,
Inner City,
Nation of Ulysses,
Icehouse,
The Evens,
Bang On A Can,
Sarah Menescal,
Scrapy,
The Offenders,
Ajijia Myrayebe,
Fear,
Red Lorry Yellow Lorry,
Roxy Music,
Fatback Band,
Sight & Sound,
Kurtis Blow,
Scientists,
Masters at Work,
New Order,
Agent Orange,
The Chocolate Watch Band,
Selector Dub Narcotic,
Rahsaan Roland Kirk,
Con Funk Shun,
Big Daddy Kane,
Sunsets and Hearts,
Nick Cave & The Bad Seeds,
Kauko Röyhkä ja Narttu,
Pierre Henry,
Idris Muhammad,
Monks,
Wings,
Cybotron,
Rosa Yemen,
Flamin' Groovies,
Underground Resistance,
Severed Heads,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.