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 Monaco and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Copenhagen 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Agent Orange to the rap kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
Roxy Music,
Terrestrial Tones,
Eli Mardock,
Eden Ahbez,
Grandmaster Flash and the Furious Five,
Sound Behaviour,
Joe Finger,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Notorious Big And Bone Thugs,
Drexciya,
Mary Jane Girls,
Sonic Youth,
Sixth Finger,
Rod Modell,
Little Man,
Ice-T,
Oppenheimer Analysis,
The Human League,
Donald Byrd,
Be Bop Deluxe,
X-Ray Spex,
Sight & Sound,
Joyce Sims,
Talk Talk,
T. Rex,
The Beau Brummels,
Richard Hell and the Voidoids,
Sun Ra Arkestra,
10cc,
Ralphi Rosario,
Model 500,
Lee Hazlewood,
Icehouse,
June of 44,
Idris Muhammad,
Malaria!,
The Fugs,
The Misunderstood,
The Blackbyrds,
Ken Boothe,
Alison Limerick,
Susan Cadogan,
Jerry Gold Smith,
Janne Schatter,
Ossler,
LL Cool J,
Gian Franco Pienzio,
the Sonics,
Wolf Eyes,
The Names,
Crash Course in Science,
Theoretical Girls,
the Germs,
The Gladiators,
Cymande,
Major Organ And The Adding Machine,
Hardrive,
The New Christs,
Avey Tare & Kría Brekkan,
Orchestral Manoeuvres in the Dark,
Ultravox, Ultravox, Ultravox, Ultravox.
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.