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 Uruguay and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Junior Murvin to the rap 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 Brick. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Rites of Spring,
Neil Young,
Amon Düül II,
John Coltrane,
Pylon,
UT,
The Buckinghams,
John Foxx,
Parry Music,
Captain Beefheart & His Magic Band,
Colin Newman,
Fad Gadget,
The Monochrome Set,
Hasil Adkins,
Ultra Naté,
Neu!,
Man Eating Sloth,
T. Rex,
The Blackbyrds,
Ken Boothe,
The Litter,
Sam Rivers,
Funkadelic,
Suburban Knight,
The Fortunes,
Joey Negro,
Yaz,
The West Coast Pop Art Experimental Band,
The Chocolate Watch Band,
Swell Maps,
Half Japanese,
The United States of America,
Chrome,
Agitation Free,
Big Daddy Kane,
John Holt,
Skriet,
The Happenings,
Pierre Henry,
Hot Snakes,
Amazonics,
Make Up,
The Slits,
Tubeway Army,
Jandek,
Ronan,
The Barracudas,
Susan Cadogan,
Wings,
The Men They Couldn't Hang,
Lungfish,
DJ Style,
It's A Beautiful Day,
Crispian St. Peters,
Eric B and Rakim,
Kango’s Stein Massive,
X-Ray Spex,
Terry Callier,
Warren Ellis,
The American Breed,
Delon & Dalcan,
The Young Rascals,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.