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 Oman and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 The Pretty Things to the crunk 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 The Electric Prunes. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin 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 arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Audionom,
Scott Walker,
Kauko Röyhkä ja Narttu,
John Lydon,
the Slits,
In Retrospect,
Masters at Work,
Josef K,
The Cramps,
Trumans Water,
Bill Near,
Desert Stars,
Hoover,
Todd Terry,
Louis and Bebe Barron,
Brothers Johnson,
A Certain Ratio,
Bobby Hutcherson,
Orchestral Manoeuvres in the Dark,
Marmalade,
The Busters,
R.M.O.,
kango's stein massive,
Bronski Beat,
Lee Hazlewood,
Maleditus Sound,
Lalann,
Malaria!,
Johnny Osbourne,
Zapp,
Skriet,
Spandau Ballet,
Neu!,
The Pretty Things,
The Blues Magoos,
Faraquet,
Lou Reed & John Cale,
The Slackers,
The Sound,
Intrusion,
Janne Schatter,
Sex Pistols,
Cheater Slicks,
Scion,
Tears for Fears,
The Neon Judgement,
The Shadows of Knight,
Lindisfarne,
Pantaleimon,
The Gap Band,
Harmonia,
Rhythm & Sound,
Chrome,
Joe Finger,
a-ha,
Connie Case,
Barclay James Harvest,
Ludus,
Flash Fearless,
Sound Behaviour,
Gong, Gong, Gong, Gong.
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.