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 Slovenia and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Spokane and London.
I'm losing my edge to the art-school Mexico City 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 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 Soul Sonic Force to the jazz 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 Sarah Menescal. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and bought an organ.
I hear that you and your band have sold your organ 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,
Joensuu 1685,
Bob Dylan,
a-ha,
Masters at Work,
Kaleidoscope,
Wolf Eyes,
Angels of Light & Akron/Family,
Super Lover Cee & Casanova Rud,
Harpers Bizarre,
Selector Dub Narcotic,
Pantaleimon,
Notorious BIG live in Amsterdam,
Simply Red,
Symarip,
Roy Ayers,
Todd Rundgren,
Monolake,
KRS-One,
The Smiths,
Stockholm Monsters,
Outsiders,
Gichy Dan,
OOIOO,
Ludus,
Hoover,
The Litter,
DeepChord presents Echospace,
Neu!,
Donald Byrd,
The Zeros,
Todd Terry,
Junior Murvin,
Interpol,
Gang Green,
Jacques Brel,
Infiniti,
Crime,
The Golliwogs,
Patti Smith,
The Fall,
Radio Birdman,
Funky Four + One,
Erasure,
Sam Rivers,
Bad Manners,
Whodini,
Ituana,
Faust,
the Germs,
Jimmy McGriff,
June of 44,
Rufus Thomas,
Soft Cell,
Pharaoh Sanders and the Fire Engines,
Pole,
Jeru the Damaja,
John Cale,
The Sound,
Gil Scott-Heron & Brian Jackson,
Porter Ricks,
Young Marble Giants,
Gang Starr,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.