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 Congo and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Manchester 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Barrington Levy to the techno kids.
I played it at the Astoria.
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 Jesper Dahlbäck. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a güiro 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 organ and bought a 808.
I hear that you and your band have sold your 808 and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Monolake,
Pet Shop Boys,
David Axelrod,
the Swans,
the Association,
Lakeside,
Althea and Donna,
Sun Ra Arkestra,
Aswad,
Roger Hodgson,
Fluxion,
The Misunderstood,
Idris Muhammad,
The Fire Engines,
Mo-Dettes,
Flash Fearless,
Oneida,
Judy Mowatt,
Moebius,
Ralphi Rosario,
Tropical Tobacco,
Kayak,
Janne Schatter,
Minor Threat,
Marcia Griffiths,
DJ Style,
Bush Tetras,
Soft Cell,
James Chance & The Contortions,
Barbara Tucker,
Heaven 17,
Yaz,
Loose Ends,
Arab on Radar,
Jeff Mills,
Yellowson,
Avey Tare & Kría Brekkan,
Icehouse,
In Retrospect,
Spandau Ballet,
the Human League,
Ronan,
Liaisons Dangereuses,
Desert Stars,
Main Source,
Siglo XX,
Agitation Free,
Rod Modell,
Scan 7,
Eurythmics,
Alison Limerick,
Henry Cow,
Khruangbin,
Jerry's Kids,
Skarface,
James White and The Blacks,
The Techniques,
Kango’s Stein Massive,
Kas Product,
Peter & Gordon,
The Offenders,
Bill Near, Bill Near, Bill Near, Bill Near.
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.