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 Eritrea and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro sounds with much patience.
I was there when Tom Verlaine 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 China Crisis to the rock kids.
I played it at the 40 Watt.
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 Arab on Radar. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare 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 synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Matthew Bourne,
Spoonie Gee,
Tommy Roe,
Liaisons Dangereuses,
Harry Pussy,
The Knickerbockers,
June of 44,
Fatback Band,
Circle Jerks,
Röyhkä ja Rättö ja Lehtisalo,
Absolute Body Control,
Soft Cell,
Gil Scott-Heron and Jamie xx,
Sad Lovers and Giants,
Bluetip,
Moby Grape,
Shuggie Otis,
Pet Shop Boys,
Easy Going,
The Velvet Underground,
Cheater Slicks,
Quantec,
X-Ray Spex,
Hashim,
Ajijia Myrayebe,
Heavy D & The Boyz,
Kool G Rap & DJ Polo,
The Slits,
Robert Görl,
The Move,
Symarip,
Neu!,
Siglo XX,
Eli Mardock,
Mo-Dettes,
Eric B and Rakim,
48th St. Collective,
Rekid,
In Retrospect,
Vainqueur,
Sun Ra Arkestra,
Little Man,
H. Thieme,
Kauko Röyhkä ja Narttu,
Jacques Brel,
The Five Americans,
Ralphi Rosario,
Man Parrish,
Slave,
The Electric Prunes,
Funkadelic,
Malaria!,
Nico,
Gang Green,
Parry Music,
The Black Dice,
Warsaw,
Das Ding,
Roy Ayers,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.