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 Serbia and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Toronto 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Severed Heads to the electroclash kids.
I played it at the Hacienda.
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 Public Enemy. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
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,
Television Personalities,
Gichy Dan,
The Monochrome Set,
The Residents,
Erykah Badu,
The Detroit Cobras,
The Doors,
Heaven 17,
Marcia Griffiths,
Selector Dub Narcotic,
La Düsseldorf,
T.S.O.L.,
Big Daddy Kane,
Siouxsie and the Banshees,
Fugazi,
Echo & the Bunnymen,
The Last Poets,
Pulsallama,
the Sonics,
Crispian St. Peters,
Scott Walker,
Scientists,
Nas,
The Slackers,
Bill Wells,
Bizarre Inc.,
Joensuu 1685,
The Royal Family And The Poor,
The Mojo Men,
Fad Gadget,
Amon Düül,
X-102,
Ponytail,
Louis and Bebe Barron,
The Golliwogs,
The Dirtbombs,
Tommy Roe,
Stereo Dub,
Unwound,
Joey Negro,
The Slits,
Super Lover Cee & Casanova Rud,
Sound Behaviour,
The Star Department,
Television,
E-Dancer,
cv313,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
Japan,
Electric Light Orchestra,
Sticky Fingaz feat. Raekwon,
Spoonie Gee,
Yaz,
Peter and Kerry,
Quando Quango,
Swans,
Lizzy Mercier Descloux,
Sixth Finger,
Country Joe & The Fish,
These Immortal Souls,
Jerry Gold Smith,
Little Man, Little Man, Little Man, Little Man.
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.