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 Gambia and from Shanghai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Portland 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 The Stooges to the jazz kids.
I played it at the Crocodile.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Scientists 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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,
Max Romeo,
Gang Starr,
10cc,
The Litter,
Sexual Harrassment,
Neu!,
The Names,
Peter & Gordon,
Lungfish,
Delon & Dalcan,
Schoolly D,
Glenn Branca,
Faraquet,
Electric Light Orchestra,
Sonny Sharrock,
Röyhkä ja Rättö ja Lehtisalo,
Nick Fraelich,
The Gladiators,
Young Marble Giants,
Judy Mowatt,
Soulsonic Force,
Bang On A Can,
Moebius,
Tears for Fears,
Japan,
Man Parrish,
Aaron Thompson,
kango's stein massive,
Ossler,
Jeff Lynne,
Marine Girls,
Nas,
Bootsy's Rubber Band,
Connie Case,
Rahsaan Roland Kirk,
The American Breed,
Kurtis Blow,
Royal Trux,
The Slits,
Adolescents,
Dawn Penn,
John Foxx,
Massinfluence,
Sad Lovers and Giants,
Michelle Simonal,
Crispy Ambulance,
Sister Nancy,
Davy DMX,
Barbara Tucker,
Gastr Del Sol,
Sparks,
Black Sheep,
Kool G Rap & DJ Polo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Roxette,
PIL,
Newcleus,
The Associates,
Toni Rubio,
Grandmaster Flash,
Clear Light,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.