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 United States and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba 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 Jimmy McGriff to the rock 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 Pharoah Sanders. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Porter Ricks 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
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 Monks,
the Fania All-Stars,
The Buckinghams,
Ten City,
Crash Course in Science,
Kings Of Tomorrow,
Lou Christie,
Suicide,
Yazoo,
The Sonics,
Grandmaster Flash and the Furious Five,
Grey Daturas,
Porter Ricks,
June of 44,
Jesper Dahlbäck,
Scan 7,
OOIOO,
James Chance & The Contortions,
Flash Fearless,
Schoolly D,
Jimmy McGriff,
Glenn Branca,
Sly & The Family Stone,
Man Parrish,
The Dirtbombs,
Albert Ayler,
The Dead C,
Con Funk Shun,
It's A Beautiful Day,
Gil Scott-Heron and Jamie xx,
Gabor Szabo,
48th St. Collective,
The Stooges,
A Certain Ratio,
Hot Snakes,
Main Source,
Pharaoh Sanders and the Fire Engines,
Lee Hazlewood,
Malaria!,
X-101,
Wally Richardson,
Eurythmics,
Black Bananas,
Soft Machine,
Godley & Creme,
Patti Smith,
Basic Channel,
Warren Ellis,
Monks,
The Red Krayola,
Ultra Naté,
Television Personalities,
Lakeside,
Alphaville,
Siouxsie and the Banshees,
Graham Central Station,
Stereo Dub,
Excepter,
Dual Sessions,
UT,
The Index,
The Wake, The Wake, The Wake, The Wake.
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.