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 Sudan and from Columbus.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the synthesizer 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 L. Decosne to the techno kids.
I played it at the Roxy.
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 Cluster. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Nik Kershaw 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 '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
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,
Crash Course in Science,
Spoonie Gee,
Grandmaster Flash,
Ultimate Spinach,
Fugazi,
Graham Central Station,
Fat Boys,
Essential Logic,
Negative Approach,
Ralphi Rosario,
Black Sheep,
Robert Görl,
Derrick Morgan,
Gang Green,
Buzzcocks,
Justin Hinds & The Dominoes,
Andrew Hill,
Captain Beefheart & His Magic Band,
Gil Scott-Heron and Jamie xx,
Radio Birdman,
Gil Scott-Heron & Brian Jackson,
Youth Brigade,
The Martian,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Stereo Dub,
Johnny Clarke,
James White and The Blacks,
Masters at Work,
Skarface,
The Names,
The J.B.'s,
The Angels of Light,
Marc Almond,
Smog,
Junior Murvin,
Moebius,
Aaron Thompson,
The Last Poets,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
New York Dolls,
DNA,
Rekid,
Mars,
Lee Hazlewood,
Rapeman,
The Raincoats,
Nation of Ulysses,
Erykah Badu,
Yellowson,
Hashim,
Pierre Henry,
Sarah Menescal,
Underground Resistance,
Electric Light Orchestra,
World's Most,
Ronnie Foster,
Teenage Jesus and the Jerks,
Kool Moe Dee,
Marmalade,
Warsaw, Warsaw, Warsaw, Warsaw.
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.