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 Cameroon and from Shanghai.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Franke to the rock kids.
I played it at the Spitz.
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 Magma. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
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,
Lee Hazlewood,
Lou Christie,
Rapeman,
the Association,
Shuggie Otis,
Super Lover Cee & Casanova Rud,
Monks,
Dark Day,
The Walker Brothers,
Gregory Isaacs,
Y Pants,
Röyhkä ja Rättö ja Lehtisalo,
EPMD,
L. Decosne,
Erasure,
Crispian St. Peters,
Groovy Waters,
Banda Bassotti,
Fort Wilson Riot,
Los Fastidios,
Deakin,
Bobby Hutcherson,
The Human League,
Ludus,
Soul II Soul,
Guru Guru,
Nirvana,
Rhythm & Sound,
X-101,
Pole,
Rites of Spring,
Howard Jones,
Cymande,
Lightning Bolt,
Oneida,
the Slits,
Mandrill,
Neil Young,
Bill Near,
James White and The Blacks,
Unrelated Segments,
Zapp,
Fluxion,
Yazoo,
The Standells,
The Zeros,
ABBA,
John Cale,
PIL,
John Lydon,
These Immortal Souls,
Urselle,
Bizarre Inc.,
Lafayette Afro Rock Band,
Joyce Sims,
The Velvet Underground,
Khruangbin,
Throbbing Gristle,
The Invisible,
Johnny Clarke,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.