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 United States and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Beijing 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 1968 at the first Can practice in a loft in Cologne.
I was working on the theremin 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 Stiv Bators to the dance 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 Yazoo. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal rap 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 arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
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,
The Kinks,
Beasts of Bourbon,
R.M.O.,
The Busters,
Junior Murvin,
Camouflage,
Gil Scott-Heron and Jamie xx,
Interpol,
Little Man,
Major Organ And The Adding Machine,
Marine Girls,
The Residents,
kango's stein massive,
Larry & the Blue Notes,
The United States of America,
Alton Ellis,
The Dirtbombs,
The Count Five,
Eyeless In Gaza,
Lalo Schifrin,
the Germs,
Fluxion,
Kango’s Stein Massive,
The Associates,
Joe Smooth,
Heaven 17,
The Beau Brummels,
Heavy D & The Boyz,
Slave,
Fat Boys,
Pulsallama,
The Flesh Eaters,
The Fall,
Urselle,
Young Marble Giants,
The Sisters of Mercy,
Terry Callier,
The Gap Band,
MC5,
Funkadelic,
Howard Jones,
The Trojans,
Stiv Bators,
Tomorrow,
Marc Almond,
The Misunderstood,
Avey Tare,
Wally Richardson,
Yusef Lateef,
The Human League,
F. McDonald,
Bill Near,
Girls At Our Best!,
Todd Rundgren,
The Men They Couldn't Hang,
The Divine Comedy,
Tubeway Army,
Lou Christie,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.