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 Bosnia Herzegovina and from Houston.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Fortunes to the jazz 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 Das Ding. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal rock 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar 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,
Oneida,
Slick Rick,
Lee Hazlewood,
Parry Music,
T.S.O.L.,
Liaisons Dangereuses,
Das Ding,
Letta Mbulu,
Quadrant,
Heaven 17,
Jeff Mills,
Anthony Braxton,
Derrick Morgan,
Eddi Front,
Traffic Nightmare,
Robert Wyatt,
Bang on a Can All-Stars,
Camouflage,
Ultravox,
Stiv Bators,
Eli Mardock,
Eyeless In Gaza,
Sister Nancy,
Flash Fearless,
The Monochrome Set,
Radiopuhelimet,
Gang Starr,
Black Bananas,
Scott Walker + Sunn O))),
Gastr Del Sol,
Colin Newman,
Country Teasers,
Gichy Dan,
Joyce Sims,
Carl Craig,
Monolake,
Au Pairs,
Niagra,
Throbbing Gristle,
Hot Snakes,
Man Parrish,
Brothers Johnson,
The Blues Magoos,
Toni Rubio,
The Vogues,
Gerry Rafferty,
The Trojans,
Public Enemy,
Sugar Minott,
The Pretty Things,
The Sound,
Bootsy Collins,
Scratch Acid,
China Crisis,
Babytalk,
Sandy B,
The Shadows of Knight,
Y Pants,
Pierre Henry,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.