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 Ecuador and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1977.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 It's A Beautiful Day to the funk kids.
I played it at the Troubador.
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 Jerry Gold Smith. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
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,
Todd Rundgren,
Hashim,
Fluxion,
Jesper Dahlback,
Gil Scott-Heron & Brian Jackson,
Sandy B,
New York Dolls,
De La Soul & Jungle Brothers,
Glenn Branca,
Khruangbin,
Sugar Minott,
Ultimate Spinach,
John Coltrane,
Bauhaus,
Maurizio,
Ten City,
Crooked Eye,
The Seeds,
Duran Duran,
Kings Of Tomorrow,
Eurythmics,
Sexual Harrassment,
The Last Poets,
Accadde A,
The Five Americans,
Thinking Fellers Union Local 282,
Model 500,
Harpers Bizarre,
Ossler,
Rufus Thomas,
Moebius,
Andrew Ashong & Theo Parrish,
Rakim,
The Slackers,
Jacob Miller,
The Cramps,
Black Pus,
Sonic Youth,
Lou Reed,
The Modern Lovers,
Glambeats Corp.,
Section 25,
Selector Dub Narcotic,
Stetsasonic,
The Fugs,
Dave Gahan,
The Grass Roots,
Dead Boys,
Sight & Sound,
ABBA,
Camron Feat. Memphis Bleek And Beenie Seigel,
James Chance & The Contortions,
Bush Tetras,
Radio Birdman,
Eric Copeland,
Monks,
The Gladiators,
Porter Ricks,
Scott Walker,
Byron Stingily,
Judy Mowatt,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.