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 Argentina and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Columbus 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 Art of Noise practice in a loft in London.
I was working on the snare 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 Boredoms to the electroclash kids.
I played it at the Troubador.
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 John Foxx. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
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,
Warsaw,
Deepchord,
The Motions,
Red Lorry Yellow Lorry,
Art Ensemble Of Chicago,
Brick,
Accadde A,
The Peanut Butter Conspiracy,
Susan Cadogan,
Sun Ra,
The Wake,
The Music Machine,
Symarip,
Glambeats Corp.,
Radiohead,
New York Dolls,
Sarah Menescal,
The Sonics,
Rufus Thomas,
The Mummies,
Unrelated Segments,
Terrestrial Tones,
Excepter,
Drexciya,
Gichy Dan,
New Age Steppers,
Faust,
DJ Sneak,
Wally Richardson,
Amon Düül,
Bootsy Collins,
Freddie Wadling,
Robert Wyatt,
Public Image Ltd.,
Danielle Patucci,
Easy Going,
Simply Red,
Darondo,
Neil Young,
Jacques Brel,
Derrick May,
The Techniques,
The Blues Magoos,
Ludus,
Glenn Branca,
Jeru the Damaja,
Roy Ayers Ubiquity,
Audionom,
Slave,
Pussy Galore,
Fear,
Maleditus Sound,
Lonnie Liston Smith,
Subhumans,
A Certain Ratio,
The Fuzztones,
Cal Tjader,
Nik Kershaw,
Röyhkä ja Rättö ja Lehtisalo,
The Associates,
Deakin, Deakin, Deakin, Deakin.
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.