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 Argentina and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Halifax 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Eli Mardock to the disco kids.
I played it at Cafe Wha.
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 Art Ensemble Of Chicago. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
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,
Boz Scaggs,
Easy Going,
Robert Wyatt,
Can,
John Lydon,
The Associates,
The Angels of Light,
Ajijia Myrayebe,
Liliput,
AZ,
Spandau Ballet,
Popol Vuh,
Wolf Eyes,
Idris Muhammad,
Swell Maps,
Gastr Del Sol,
R.M.O.,
The Trojans,
Alice Coltrane,
The Blues Magoos,
Stockholm Monsters,
Harmonia,
Newcleus,
The Gladiators,
Loose Ends,
Rhythm & Sound,
Tres Demented,
Crash Course in Science,
Kerrie Biddell,
Massinfluence,
Terrestrial Tones,
Lightning Bolt,
Scan 7,
Kenny Larkin,
Throbbing Gristle,
Rod Modell,
Peter Gordon & Love of Life Orchestra,
The Fortunes,
Avey Tare,
The Fire Engines,
Bluetip,
Outsiders,
Aloha Tigers,
Banda Bassotti,
The Selecter,
Glenn Branca,
John Holt,
Skarface,
Marmalade,
Echo & the Bunnymen,
Brass Construction,
Metal Thangz,
Susan Cadogan,
The Gap Band,
the Association,
Public Enemy,
Pantaleimon,
Tom Boy,
Danielle Patucci,
Fear, Fear, Fear, Fear.
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.