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 Russia and from Bologna.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 Angry Samoans to the electroclash 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 Kenny Larkin. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Dead C 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 '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
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,
Radio Birdman,
Minor Threat,
Crooked Eye,
Youth Brigade,
Bobby Hutcherson,
Wighnomy Brothers & Robag Wruhme,
Barry Ungar,
The Neon Judgement,
Absolute Body Control,
Shuggie Otis,
Amazonics,
Avey Tare,
Eli Mardock,
The Offenders,
Mandrill,
The Index,
Warsaw,
The Techniques,
Visionaries,LMNO, T- Love & Iriscience,
Jesper Dahlback,
The Cure,
Avey Tare & Kría Brekkan,
The Detroit Cobras,
The Motions,
Thinking Fellers Union Local 282,
Depeche Mode,
Matthew Bourne,
Mantronix,
Fear,
Surgeon,
The West Coast Pop Art Experimental Band,
The Doobie Brothers,
Joyce Sims,
Television,
Sound Behaviour,
E-Dancer,
Todd Terry,
Jandek,
Siglo XX,
Marc Almond,
Mo-Dettes,
Susan Cadogan,
DNA,
Derrick Morgan,
The Barracudas,
Lebanon Hanover,
10cc,
Isaac Hayes,
Mr. Review,
Underground Resistance,
Lightning Bolt,
Wolf Eyes,
The Smiths,
Oneida,
ABBA,
Minutemen,
Erykah Badu,
X-102,
The Skatalites,
Nico,
Echospace, Echospace, Echospace, Echospace.
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.