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 Nepal and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 This Heat to the disco kids.
I played it at the Crocodile.
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 Warsaw. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal grime 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
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,
Donald Byrd,
Circle Jerks,
The Young Rascals,
Sugar Minott,
Sällskapet,
Quadrant,
Max Romeo,
The Remains,
Mo-Dettes,
Nick Cave & The Bad Seeds,
Bizarre Inc.,
The Cowsills,
Deakin,
Carl Craig,
Suicide,
The Fire Engines,
Maurizio,
Echospace,
Kas Product,
Gang Green,
Byron Stingily,
Flamin' Groovies,
Godley & Creme,
New York Dolls,
Laurel Aitken,
Surgeon,
Steve Hackett,
Bobby Byrd,
Soft Cell,
Bob Dylan,
Soft Machine,
Bobby Womack,
Joe Finger,
Sad Lovers and Giants,
T.S.O.L.,
Minny Pops,
Reagan Youth,
The Shadows of Knight,
The Cramps,
Slick Rick,
Eric B and Rakim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
John Lydon,
Brass Construction,
Jimmy McGriff,
The Fugs,
Strawberry Alarm Clock,
The Dirtbombs,
Gil Scott-Heron & Brian Jackson,
Eric Dolphy,
Orchestral Manoeuvres in the Dark,
Half Japanese,
Sound Behaviour,
Sonic Youth,
Saccharine Trust,
Wally Richardson,
Marc Almond,
Essential Logic,
The Moleskins,
Flash Fearless,
Magma,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.