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 St Lucia and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Philadelphia and Woodstock.
I'm losing my edge to the art-school Lille 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 marimba 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 Amazonics to the punk 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 Vladislav Delay. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a snare 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 spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Marine Girls,
Harmonia,
The Cramps,
Liaisons Dangereuses,
Wire,
Tomorrow,
Kerri Chandler,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alton Ellis,
Kauko Röyhkä ja Narttu,
Danielle Patucci,
The Blues Magoos,
Nick Fraelich,
Freddie Wadling,
Cecil Taylor,
The Gories,
Black Bananas,
Al Stewart,
Country Joe & The Fish,
Fifty Foot Hose,
Warsaw,
Q65,
Rosa Yemen,
The Cowsills,
Sugar Minott,
Bush Tetras,
Vaughan Mason & Crew,
Ash Ra Tempel,
Fatback Band,
T.S.O.L.,
Agitation Free,
Kurtis Blow,
The Modern Lovers,
June Days,
The Pop Group,
Ponytail,
Schoolly D,
Liliput,
AZ,
Dead Boys,
Arthur Verocai,
Royal Trux,
Avey Tare,
The Doors,
Tom Boy,
Bobby Hutcherson,
The Beau Brummels,
Pole,
Banda Bassotti,
Gian Franco Pienzio,
The Motions,
Girls At Our Best!,
Sällskapet,
DJ Sneak,
The Zeros,
The Young Rascals,
The Count Five,
Lafayette Afro Rock Band,
Magazine, Magazine, Magazine, Magazine.
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.