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 Guinea and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 New York Dolls to the rap kids.
I played it at the Crocodile.
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 Public Enemy. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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,
Half Japanese,
Gichy Dan,
Dave Gahan,
Orchestral Manoeuvres in the Dark,
The Flesh Eaters,
The Kinks,
Wings,
The Fortunes,
Technova,
Aaron Thompson,
Suburban Knight,
Depeche Mode,
The Slits,
Pharaoh Sanders and the Fire Engines,
Janne Schatter,
Reagan Youth,
DeepChord presents Echospace,
Scion,
Clear Light,
Jerry Gold Smith,
Con Funk Shun,
The New Christs,
Thee Headcoats,
Black Flag,
Mo-Dettes,
The Gap Band,
Q65,
Minor Threat,
Avey Tare,
Spandau Ballet,
The Cosmic Jokers,
Mission of Burma,
Nico,
Ponytail,
MC5,
Country Teasers,
The Offenders,
Fela Kuti,
8 Eyed Spy,
The Men They Couldn't Hang,
Nas,
The Move,
Mandrill,
A Certain Ratio,
Alison Limerick,
Magma,
Ice-T,
The Doors,
Todd Rundgren,
Juan Atkins,
Ohio Players,
Kas Product,
10cc,
The Doobie Brothers,
Joensuu 1685,
Banda Bassotti,
Intrusion,
Danielle Patucci,
Cabaret Voltaire,
Swell Maps,
Heaven 17,
Freddie Wadling,
Anakelly, Anakelly, Anakelly, Anakelly.
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.