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 Chad and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Salvador 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 Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 Richard Hell and the Voidoids to the disco 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 John Foxx. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
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,
Los Fastidios,
Brand Nubian,
Prince Buster,
The Dirtbombs,
Schoolly D,
Heaven 17,
Dennis Brown,
The Grass Roots,
Livin' Joy,
Laurel Aitken,
Television,
Angels of Light & Akron/Family,
Ice-T,
Johnny Osbourne,
Arab on Radar,
The Fugs,
Thee Headcoats,
Scratch Acid,
The Tremeloes,
Marcia Griffiths,
Eric B and Rakim,
Glambeats Corp.,
New York Dolls,
Massinfluence,
the Soft Cell,
Eddi Front,
Jacques Brel,
Khruangbin,
Joy Division,
The Litter,
The Slackers,
Spandau Ballet,
Motorama,
Harmonia,
Mr. Review,
Eurythmics,
Cheater Slicks,
Cabaret Voltaire,
Harpers Bizarre,
Brothers Johnson,
Neil Young & Crazy Horse,
Ronnie Foster,
Grandmaster Flash,
Chrome,
The Selecter,
Minnie Riperton,
Arthur Verocai,
Dorothy Ashby,
the Normal,
the Association,
Art Ensemble Of Chicago,
Alphaville,
Gichy Dan,
Max Romeo,
The Five Americans,
Terry Callier,
Hoover,
Lungfish,
The Walker Brothers,
Stereo Dub,
MDC,
Bluetip,
Can,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.