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 Eritrea and from Bremen.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Copenhagen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Sällskapet to the electroclash kids.
I played it at CBGB's.
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 Eurythmics. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Jacques Brel 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron 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,
The Five Americans,
Flamin' Groovies,
Jimmy McGriff,
L. Decosne,
Zero Boys,
Alice Coltrane,
Bauhaus,
E-Dancer,
Guru Guru,
Sound Behaviour,
New Age Steppers,
Bobby Womack,
Rakim,
Severed Heads,
Skriet,
The Index,
The Standells,
The Victims,
Groovy Waters,
Byron Stingily,
Tres Demented,
Isaac Hayes,
Kaleidoscope,
Kool G Rap & DJ Polo,
Warsaw,
Ultimate Spinach,
Infiniti,
Jacob Miller,
the Normal,
The Monks,
Flash Fearless,
Eli Mardock,
Deutsch Amerikanische Freundschaft,
Pharaoh Sanders and the Fire Engines,
The Invisible,
Reuben Wilson,
Khruangbin,
The Barracudas,
Aaron Thompson,
Nick Fraelich,
Absolute Body Control,
Amon Düül II,
Major Organ And The Adding Machine,
Robert Görl,
Soft Machine,
Trumans Water,
Pagans,
Alphaville,
Ituana,
Audionom,
Basic Channel,
Newcleus,
Albert Ayler,
The Electric Prunes,
F. McDonald,
Harry Pussy,
Brothers Johnson,
Hot Snakes,
Nirvana,
Kings Of Tomorrow,
the Slits,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.