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 Malaysia and from Toronto.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 U.S. Maple to the crunk 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 Funky Four + One. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Fela Kuti 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your organ and bought a 808.
I hear that you and your band have sold your 808 and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Rowland S Howard / Lydia Lunch,
Pole,
Soft Cell,
John Lydon,
Hoover,
Mandrill,
Terrestrial Tones,
The Mummies,
Gil Scott-Heron and Jamie xx,
Swell Maps,
Crispy Ambulance,
Nik Kershaw,
Cabaret Voltaire,
kango's stein massive,
Major Organ And The Adding Machine,
Gian Franco Pienzio,
Peter Gordon & Love of Life Orchestra,
Mission of Burma,
Angels of Light & Akron/Family,
The Happenings,
Kaleidoscope,
Crime,
Tubeway Army,
Roxy Music,
Bill Wells,
Kayak,
Jesper Dahlbäck,
Pierre Henry,
Bobby Hutcherson,
John Cale,
Gang Starr,
Main Source,
E-Dancer,
Bobby Sherman,
The Count Five,
Avey Tare's Slasher Flicks,
The Pretty Things,
The Barracudas,
Urselle,
X-Ray Spex,
Faust,
Kas Product,
Rufus Thomas,
Monolake,
Khruangbin,
8 Eyed Spy,
Rosa Yemen,
Terror Squad Feat. Camron,
Sexual Harrassment,
The Litter,
Hardrive,
Orchestral Manoeuvres in the Dark,
Eve St. Jones,
The Moleskins,
Slave,
The Sound,
Judy Mowatt,
Agitation Free,
Black Sheep,
Jeff Mills,
David Axelrod,
Masters at Work,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.