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 South Sudan and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Marshall Jefferson to the electroclash kids.
I played it at the Troubador.
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 Morten Harket. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
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,
Hashim,
Ash Ra Tempel,
T.S.O.L.,
Harry Pussy,
Brand Nubian,
Albert Ayler,
Davy DMX,
Archie Shepp,
The Busters,
Spoonie Gee,
Darondo,
Simply Red,
Lyres,
Excepter,
Depeche Mode,
Delon & Dalcan,
Dark Day,
Ultramagnetic MC's,
Con Funk Shun,
Lalo Schifrin,
Grauzone,
The Offenders,
Sugar Minott,
Alison Limerick,
Tim Buckley,
Peter and Kerry,
Hoover,
Bauhaus,
The Slackers,
Patti Smith,
The Standells,
Mo-Dettes,
Pagans,
Hot Snakes,
The Cowsills,
Metal Thangz,
Cecil Taylor,
Flamin' Groovies,
Radiohead,
Pantytec,
Audionom,
The Buckinghams,
Nik Kershaw,
Zapp,
Goldenarms,
Bill Near,
Kool Moe Dee,
Crooked Eye,
David Bowie,
Rakim,
Mandrill,
The Associates,
UT,
The Birthday Party,
Loose Ends,
Tomorrow,
Bill Wells,
Rhythm & Sound,
Suicide,
Matthew Bourne,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.