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 Peru and from Glasgow.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Milan 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Fear to the jazz kids.
I played it at the Crocodile.
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 The Remains. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
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,
Peter & Gordon,
Technova,
Newcleus,
Mr. Review,
Mark Hollis,
Alton Ellis,
Justin Hinds & The Dominoes,
Strawberry Alarm Clock,
Altered Images,
The Sound,
The Slits,
Gil Scott-Heron & Brian Jackson,
Harmonia,
Judy Mowatt,
Silicon Teens,
Livin' Joy,
Radio Birdman,
The Happenings,
The Neon Judgement,
Alison Limerick,
The Sisters of Mercy,
Siglo XX,
Sonny Sharrock,
Second Layer,
Surgeon,
Traffic Nightmare,
48th St. Collective,
Drive Like Jehu,
Pantytec,
The Men They Couldn't Hang,
The Mummies,
The Blues Magoos,
Janne Schatter,
Al Stewart,
The Standells,
Crooked Eye,
Gil Scott-Heron and Jamie xx,
John Lydon,
The West Coast Pop Art Experimental Band,
Country Teasers,
The Fire Engines,
Marc Almond,
Unrelated Segments,
Ronan,
David Bowie,
Quantec,
Public Enemy,
Fifty Foot Hose,
Siouxsie and the Banshees,
The Shadows of Knight,
Bizarre Inc.,
Pussy Galore,
Lou Reed,
Fugazi,
a-ha,
Byron Stingily,
Andrew Ashong & Theo Parrish,
World's Most,
Magma,
Max Romeo,
Ituana,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.