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 Norway and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
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 Nick Cave & The Bad Seeds to the crunk kids.
I played it at the 40 Watt.
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 Lonnie Liston Smith. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal funk 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 a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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,
Bootsy Collins,
The Golliwogs,
Electric Light Orchestra,
Fear,
Aaron Thompson,
Glambeats Corp.,
UT,
Sly & The Family Stone,
Kevin Saunderson,
Animal Collective,
Scratch Acid,
The Divine Comedy,
Lou Reed & Metallica,
Cal Tjader,
Mission of Burma,
Slick Rick,
Teenage Jesus and the Jerks,
Zapp,
The Searchers,
Man Parrish,
Curtis Mayfield,
The Litter,
Ten City,
cv313,
Barclay James Harvest,
Livin' Joy,
The Mojo Men,
Fugazi,
David Axelrod,
Wally Richardson,
Derrick Morgan,
Camberwell Now,
Amon Düül,
Scion,
Rhythm & Sound,
John Holt,
The Fall,
Wolf Eyes,
Das Ding,
Swell Maps,
The Alarm Clocks,
Royal Trux,
Gil Scott-Heron & Brian Jackson,
Hardrive,
Blancmange,
Crash Course in Science,
The Sound,
Pete Rock & C.L. Smooth,
Soul Sonic Force,
Funky Four + One,
Sällskapet,
Drexciya,
Terror Squad Feat. Camron,
Maleditus Sound,
The Seeds,
Albert Ayler,
Eyeless In Gaza,
DNA,
Unwound,
EPMD,
Shuggie Otis,
Accadde A, Accadde A, Accadde A, Accadde A.
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.