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 Fiji and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Jakarta and London.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Dirtbombs to the crunk 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 Walker Brothers. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Little Man 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro 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 harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Pharoah Sanders,
Deadbeat,
Dennis Brown,
Moby Grape,
Moebius,
Kauko Röyhkä ja Narttu,
Nico,
Gang Starr,
Q and Not U,
Make Up,
Susan Cadogan,
Ponytail,
Stiv Bators,
Jerry Gold Smith,
The Last Poets,
Ronan,
Jeru the Damaja,
Sixth Finger,
Chrome,
Mark Hollis,
Wasted Youth,
Whodini,
The Slackers,
The United States of America,
The Happenings,
Boredoms,
Jawbox,
Lindisfarne,
Lou Reed & John Cale,
Gerry Rafferty,
Au Pairs,
Skaos,
Neil Young & Crazy Horse,
The Fire Engines,
The Neon Judgement,
48th St. Collective,
Eric Copeland,
This Heat,
Orchestral Manoeuvres in the Dark,
The Men They Couldn't Hang,
Flipper,
Jandek,
Kaleidoscope,
PIL,
Echospace,
Charles Mingus,
Quantec,
the Association,
New Age Steppers,
MDC,
Drexciya,
Rahsaan Roland Kirk,
Soul II Soul,
Fifty Foot Hose,
Slick Rick,
Pulsallama,
Brass Construction,
Shuggie Otis,
Kenny Larkin,
Lalann,
Andrew Ashong & Theo Parrish,
The Divine Comedy,
Connie Case, Connie Case, Connie Case, Connie Case.
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.