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 Brazil and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Salvador 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 Neu! practice in a loft in Düsseldorf.
I was working on the marimba 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 Red Lorry Yellow Lorry to the crunk kids.
I played it at the Hacienda.
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 Roxette tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
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,
Al Stewart,
Cybotron,
Boogie Down Productions,
Bobby Hutcherson,
Clear Light,
The Monks,
Saccharine Trust,
Darondo,
Susan Cadogan,
Glenn Branca,
John Foxx,
Man Parrish,
Crooked Eye,
The Cowsills,
Liaisons Dangereuses,
Robert Hood,
Lucky Dragons,
The Cramps,
The Move,
Jeru the Damaja,
Eli Mardock,
Spandau Ballet,
Vainqueur,
These Immortal Souls,
Flamin' Groovies,
Nik Kershaw,
Jeff Mills,
The Count Five,
Tres Demented,
Art Ensemble Of Chicago,
Lee Hazlewood,
Röyhkä ja Rättö ja Lehtisalo,
Main Source,
Wire,
Brand Nubian,
Pharaoh Sanders and the Fire Engines,
The Men They Couldn't Hang,
Procol Harum,
Drive Like Jehu,
Ajijia Myrayebe,
In Retrospect,
Bobby Womack,
Funkadelic,
Scrapy,
Echospace,
Cymande,
The Names,
Gary Puckett & The Union Gap,
The J.B.'s,
Siglo XX,
Thompson Twins,
The Blackbyrds,
Los Fastidios,
Minny Pops,
Kerrie Biddell,
Surgeon,
Jacques Brel,
Chrome,
Jandek,
Charles Mingus,
The Offenders,
Hot Snakes,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.