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 Marshall Islands and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
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 organ sounds with much patience.
I was there when Donald Fagen 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 grime 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 Niagra. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Mr. Review 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
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,
Soul II Soul,
Severed Heads,
Avey Tare's Slasher Flicks,
The Royal Family And The Poor,
Tubeway Army,
Archie Shepp,
Schoolly D,
Andrew Hill,
Los Fastidios,
Cal Tjader,
Visage,
Mars,
Jesper Dahlbäck,
The Men They Couldn't Hang,
Talk Talk,
Gian Franco Pienzio,
David Axelrod,
Eli Mardock,
Lonnie Liston Smith,
Oppenheimer Analysis,
The West Coast Pop Art Experimental Band,
Brand Nubian,
Funkadelic,
Spandau Ballet,
Donny Hathaway,
June Days,
Josef K,
Country Joe & The Fish,
Kaleidoscope,
Joey Negro,
Boz Scaggs,
Y Pants,
kango's stein massive,
Lakeside,
Dead Boys,
Excepter,
Freddie Wadling,
Section 25,
Goldenarms,
The American Breed,
The Mojo Men,
Bootsy Collins,
Louis and Bebe Barron,
Von Mondo,
Ralphi Rosario,
Pantaleimon,
Fugazi,
Joensuu 1685,
Suburban Knight,
Clear Light,
The Busters,
Subhumans,
Dual Sessions,
Todd Terry,
Rhythm & Sound,
Aloha Tigers,
Cymande,
Icehouse,
The Barracudas,
Peter and Kerry,
X-101, X-101, X-101, X-101.
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.