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 Honduras and from Spokane.
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 1963 to 1972.
I'm losing my edge.
To all the kids in London and Lyon.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the jazz 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 F. McDonald. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every China Crisis 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 '90s.
I hear you're buying a spring reverb and a mellotron 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 sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Amazonics,
Notorious Big And Bone Thugs,
The American Breed,
Sparks,
Rakim,
Gil Scott-Heron & Brian Jackson,
Saccharine Trust,
Lower 48,
Roger Hodgson,
Mark Hollis,
Pulsallama,
Jesper Dahlback,
Albert Ayler,
The Star Department,
Captain Beefheart & His Magic Band,
Little Man,
Neu!,
Lightning Bolt,
Agitation Free,
Kas Product,
Boredoms,
Bauhaus,
The Electric Prunes,
John Cale,
ABC,
OOIOO,
Chrome,
Stockholm Monsters,
The Slits,
Drexciya,
Nico,
Roy Ayers Ubiquity,
Deepchord,
Bang on a Can All-Stars,
DNA,
Agent Orange,
Dark Day,
Motorama,
Lalann,
PIL,
Robert Wyatt,
The Golliwogs,
The Buckinghams,
Colin Newman,
Rhythm & Sound,
The Walker Brothers,
Gang Green,
the Human League,
kango's stein massive,
This Heat,
The United States of America,
Unwound,
Black Pus,
Ohio Players,
Radiohead,
Kerrie Biddell,
Lonnie Liston Smith,
Avey Tare's Slasher Flicks,
Quadrant,
Bob Dylan,
Delon & Dalcan,
The Selecter, The Selecter, The Selecter, The Selecter.
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.