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 Chile and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Lindisfarne to the punk kids.
I played it at the Hacienda.
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 Offenders. All the underground hits.
All Index tracks. I heard you have a vinyl of every Black Flag 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin 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 linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Motorama,
Public Enemy,
David Axelrod,
Jesper Dahlbäck,
Dennis Brown,
Vladislav Delay,
Stockholm Monsters,
Jerry Gold Smith,
A Certain Ratio,
Procol Harum,
Ajijia Myrayebe,
The Dirtbombs,
The Wake,
a-ha,
Crooked Eye,
Stiv Bators,
Ultravox,
The Tremeloes,
Amon Düül,
The Count Five,
The Monochrome Set,
Kool Moe Dee,
Das Ding,
Justin Hinds & The Dominoes,
The American Breed,
Cecil Taylor,
The Pretty Things,
Camouflage,
Masters at Work,
Bootsy Collins,
Albert Ayler,
Ultra Naté,
Echospace,
K-Klass,
Fela Kuti,
Section 25,
Siglo XX,
The Victims,
Rosa Yemen,
Basic Channel,
Todd Rundgren,
Max Romeo,
The Index,
Groovy Waters,
Flash Fearless,
Agitation Free,
Marine Girls,
Crispian St. Peters,
Ultramagnetic MC's,
The Gories,
DNA,
Adolescents,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
Frankie Knuckles,
Rakim,
It's A Beautiful Day,
The Move,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.