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 Monaco and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Index to the electroclash 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 Stetsasonic. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal techno 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 a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rowland S Howard / Lydia Lunch,
Arcadia,
Roxy Music,
Sun Ra Arkestra,
CMW,
Big Daddy Kane,
The Seeds,
Sonny Sharrock,
Icehouse,
Underground Resistance,
The Zeros,
Pagans,
Depeche Mode,
Bob Dylan,
Brass Construction,
Bootsy Collins,
Donny Hathaway,
Fat Boys,
Siglo XX,
The Smoke,
Public Enemy,
The Golliwogs,
The Sonics,
Crime,
Althea and Donna,
Pulsallama,
Jawbox,
Pharoah Sanders,
Jandek,
Pierre Henry,
Mission of Burma,
The Pretty Things,
Moss Icon,
Gang Starr,
The Wake,
Gil Scott Heron,
Derrick May,
Hot Snakes,
Camron Feat. Jay Z And Juelz,
Tom Boy,
Con Funk Shun,
Malaria!,
Newcleus,
Oblivians,
The Young Rascals,
Al Stewart,
Blake Baxter,
Red Lorry Yellow Lorry,
Art Ensemble Of Chicago,
The Buckinghams,
Lakeside,
Bobbi Humphrey,
Amon Düül,
Sixth Finger,
B.T. Express,
Röyhkä ja Rättö ja Lehtisalo,
Kerri Chandler,
Qualms,
Ituana,
Bill Near,
James Chance & The Contortions,
Robert Görl,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.