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 Slovenia and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1970.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school New York 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 sitar 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 Thinking Fellers Union Local 282 to the grunge kids.
I played it at Trash.
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 Clear Light. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 Inner City record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Rowland S Howard / Lydia Lunch,
Make Up,
The Monks,
FM Einheit,
Jawbox,
Peter and Kerry,
Stockholm Monsters,
Moby Grape,
Kurtis Blow,
Schoolly D,
Soulsonic Force,
Arcadia,
Parry Music,
48th St. Collective,
Mantronix,
Heaven 17,
Thompson Twins,
Scan 7,
Rahsaan Roland Kirk,
Andrew Hill,
Masters at Work,
Technova,
Vainqueur,
The Fire Engines,
Procol Harum,
The Evens,
Quantec,
Ultramagnetic MC's,
Roxette,
Minutemen,
Kenny Larkin,
Girls At Our Best!,
Faust,
MDC,
Bobby Womack,
Niagra,
Shoche,
Soft Machine,
Marcia Griffiths,
The Cramps,
Albert Ayler,
Unwound,
Hardrive,
David Axelrod,
the Association,
Gerry Rafferty,
Steve Hackett,
Bang on a Can All-Stars,
Hot Snakes,
Urselle,
Ponytail,
Massinfluence,
Joe Smooth,
EPMD,
Gil Scott Heron,
The Trojans,
Clear Light,
Marvin Gaye,
The Walker Brothers,
Archie Shepp,
Ultravox, Ultravox, Ultravox, Ultravox.
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.