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 Senegal and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Skriet to the funk 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 The Star Department. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every The Cure 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Toni Rubio,
Justin Hinds & The Dominoes,
The Human League,
Byron Stingily,
Rufus Thomas,
The Saints,
Harpers Bizarre,
Sun Ra Arkestra,
Lou Christie,
Nas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Motions,
Louis and Bebe Barron,
Avey Tare,
Ten City,
Ituana,
The Sonics,
The Last Poets,
Black Moon,
Terrestrial Tones,
Colin Newman,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Can,
Glenn Branca,
Quantec,
Kevin Saunderson,
The Monks,
Robert Wyatt,
Bush Tetras,
Ultra Naté,
Neil Young,
Sad Lovers and Giants,
The Monochrome Set,
Banda Bassotti,
Half Japanese,
Basic Channel,
The New Christs,
Heavy D & The Boyz,
Sonic Youth,
La Düsseldorf,
The Raincoats,
Charles Mingus,
Fat Boys,
Accadde A,
Scrapy,
Amon Düül II,
The Misunderstood,
Thinking Fellers Union Local 282,
the Association,
Ronan,
F. McDonald,
Art Ensemble Of Chicago,
Echospace,
The Gap Band,
Jesper Dahlback,
Yaz,
Susan Cadogan,
Ossler,
The Music Machine,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.