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 Japan and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Howard Jones to the grunge kids.
I played it at the Spitz.
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 Flash Fearless. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Silicon Teens 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Deadbeat,
The Cowsills,
Be Bop Deluxe,
The Seeds,
Black Moon,
Television,
Stockholm Monsters,
The Tremeloes,
Gong,
Leonard Cohen,
Dual Sessions,
The Kinks,
John Lydon,
Faust,
Excepter,
Moby Grape,
Hot Snakes,
Brass Construction,
the Association,
Talk Talk,
Electric Prunes,
Aswad,
The Star Department,
Ornette Coleman,
The Fortunes,
Chris Corsano,
Bluetip,
Q and Not U,
Fad Gadget,
Cymande,
Minor Threat,
Boogie Down Productions,
Bob Dylan,
Soul Sonic Force,
Barrington Levy,
Josef K,
The Moleskins,
Ten City,
Mark Hollis,
Newcleus,
Sparks,
Oneida,
Agitation Free,
Röyhkä ja Rättö ja Lehtisalo,
The Gun Club,
The Remains,
Mars,
Soft Cell,
The Fire Engines,
MC5,
Accadde A,
Lakeside,
Captain Beefheart & His Magic Band,
Bauhaus,
The Electric Prunes,
Tropical Tobacco,
Supertramp,
Gregory Isaacs,
D'Angelo,
Erykah Badu,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.