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 Japan and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Nico to the jazz kids.
I played it at the Crocodile.
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 Dead C. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba 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?
Minutemen,
The Fire Engines,
Tommy Roe,
the Swans,
Minny Pops,
John Lydon,
Soft Cell,
Andrew Hill,
The Blackbyrds,
Delta 5,
The Cure,
X-Ray Spex,
Smog,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra Arkestra,
John Foxx,
The Chocolate Watch Band,
Kool G Rap & DJ Polo,
Trumans Water,
the Association,
Bronski Beat,
One Last Wish,
Beasts of Bourbon,
Avey Tare's Slasher Flicks,
A Flock of Seagulls,
Crash Course in Science,
Roxy Music,
Marshall Jefferson,
Von Mondo,
The Monks,
Moss Icon,
Jacques Brel,
Heaven 17,
Depeche Mode,
Be Bop Deluxe,
The Grass Roots,
Fort Wilson Riot,
Gang Gang Dance,
Alice Coltrane,
The Fall,
Rhythim Is Rhythim,
a-ha,
Kool Moe Dee,
U.S. Maple,
the Bar-Kays,
Godley & Creme,
The Martian,
Maurizio,
Johnny Osbourne,
Ludus,
Popol Vuh,
Cheater Slicks,
Make Up,
Graham Central Station,
Eurythmics,
Oblivians,
Excepter,
Selector Dub Narcotic,
Deakin,
T.S.O.L.,
Amon Düül II,
The Knickerbockers,
Skaos,
Sad Lovers and Giants,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.