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 Portugal and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Ludus to the jazz 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 Minor Threat. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin 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,
Eurythmics,
Ken Boothe,
Excepter,
Delta 5,
Basic Channel,
Tom Boy,
Arcadia,
Nik Kershaw,
Siglo XX,
Wally Richardson,
Minnie Riperton,
Swans,
Camberwell Now,
The Misunderstood,
Crooked Eye,
Fluxion,
Super Lover Cee & Casanova Rud,
Model 500,
Albert Ayler,
T. Rex,
The West Coast Pop Art Experimental Band,
Sixth Finger,
The Music Machine,
Andrew Ashong & Theo Parrish,
Iggy Pop,
Franke,
Interpol,
The Gladiators,
Scratch Acid,
Patti Smith,
Alice Coltrane,
Siouxsie and the Banshees,
Janne Schatter,
Boogie Down Productions,
Ultramagnetic MC's,
Half Japanese,
The Evens,
The Peanut Butter Conspiracy,
Audionom,
Lalo Schifrin,
Traffic Nightmare,
Scan 7,
Ash Ra Tempel,
The Blues Magoos,
Television Personalities,
Lee Hazlewood,
Barry Ungar,
Moby Grape,
Wolf Eyes,
Hardrive,
The Barracudas,
China Crisis,
Cybotron,
Lou Reed,
The Cure,
The Cowsills,
Sugar Minott,
The Kinks,
Derrick Morgan,
Mandrill,
KRS-One, KRS-One, KRS-One, KRS-One.
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.