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 France and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1971.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Lyon 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 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 Lalann to the jazz 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 The Trojans. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal grime 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
X-102,
The Vogues,
Pharoah Sanders,
Delon & Dalcan,
Tubeway Army,
The American Breed,
Lightning Bolt,
Hardrive,
the Association,
Derrick May,
Tears for Fears,
The Sonics,
the Slits,
These Immortal Souls,
Thee Headcoats,
Lizzy Mercier Descloux,
Pere Ubu,
Ituana,
Pierre Henry,
Electric Light Orchestra,
Andrew Hill,
Roy Ayers,
Rowland S Howard / Lydia Lunch,
The Dead C,
KRS-One,
Lalann,
Ultravox,
Quando Quango,
The Misunderstood,
Harpers Bizarre,
Gerry Rafferty,
Ossler,
The Monks,
Soft Machine,
Ponytail,
Public Image Ltd.,
Reuben Wilson,
Supertramp,
Gian Franco Pienzio,
Rahsaan Roland Kirk,
Cecil Taylor,
Judy Mowatt,
Scott Walker,
The Electric Prunes,
Grandmaster Flash and the Furious Five,
Buzzcocks,
David McCallum,
Trumans Water,
Red Lorry Yellow Lorry,
Minnie Riperton,
Symarip,
Alice Coltrane,
Sexual Harrassment,
Television Personalities,
Glambeats Corp.,
Public Enemy,
Vladislav Delay,
Skarface,
Bobby Sherman,
Ash Ra Tempel,
Nirvana, Nirvana, Nirvana, Nirvana.
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.