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 Estonia and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Spoonie Gee to the rap kids.
I played it at the Roxy.
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 Real Kids. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar 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 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?
Grandmaster Flash,
Masters at Work,
Bob Dylan,
World's Most,
Au Pairs,
Tres Demented,
The Remains,
Ornette Coleman,
Wolf Eyes,
Rotary Connection,
The Sound,
Avey Tare,
Chrome,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
Johnny Osbourne,
Yusef Lateef,
The Doors,
The Beau Brummels,
Funky Four + One,
Quadrant,
Eve St. Jones,
The Men They Couldn't Hang,
Franke,
Peter Gordon & Love of Life Orchestra,
Stereo Dub,
Whodini,
Hasil Adkins,
Pussy Galore,
Sällskapet,
Royal Trux,
The Red Krayola,
Marmalade,
Albert Ayler,
Gian Franco Pienzio,
Black Moon,
Nation of Ulysses,
The Cosmic Jokers,
James Chance & The Contortions,
Richard Hell and the Voidoids,
K-Klass,
Index,
X-102,
Grauzone,
The Names,
Sun City Girls,
The Monochrome Set,
The Black Dice,
Jawbox,
Vaughan Mason & Crew,
Pagans,
The Index,
Vainqueur,
Gregory Isaacs,
Marcia Griffiths,
Technova,
Infiniti,
T. Rex,
The Trojans,
Reagan Youth,
Anthony Braxton,
Aswad, Aswad, Aswad, Aswad.
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.