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 Somalia and from Calgary.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Cairo.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Gil Scott-Heron and Jamie xx to the crunk kids.
I played it at the Astoria.
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 Aaron Thompson. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Thompson Twins 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones 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?
Rowland S Howard / Lydia Lunch,
Ten City,
Camberwell Now,
Rhythim Is Rhythim,
John Holt,
The West Coast Pop Art Experimental Band,
Kas Product,
The Detroit Cobras,
Soul II Soul,
X-Ray Spex,
Lou Reed & Metallica,
Magma,
Minor Threat,
the Association,
Pussy Galore,
Toni Rubio,
Radiohead,
The Birthday Party,
Pharaoh Sanders and the Fire Engines,
The Human League,
Joey Negro,
Archie Shepp,
Unwound,
June Days,
Vladislav Delay,
Ronan,
Bobby Hutcherson,
Kevin Saunderson,
Traffic Nightmare,
Avey Tare's Slasher Flicks,
Magazine,
Juan Atkins,
The Techniques,
Clear Light,
Louis and Bebe Barron,
Pantytec,
Super Lover Cee & Casanova Rud,
The Sonics,
Ituana,
Isaac Hayes,
Khruangbin,
Faust,
Electric Light Orchestra,
The Searchers,
Swell Maps,
Niagra,
Stiv Bators,
Josef K,
Nirvana,
Con Funk Shun,
ABBA,
Metal Thangz,
Spoonie Gee,
Drive Like Jehu,
Ice-T,
the Bar-Kays,
Rapeman,
The Shadows of Knight,
The Dave Clark Five,
Bobby Womack,
Buzzcocks,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.