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 Laos and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 Terrestrial Tones to the grunge kids.
I played it at the Crocodile.
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 Country Teasers. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin 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 linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Fat Boys,
Ultravox,
The Sisters of Mercy,
Leonard Cohen,
The Birthday Party,
Barbara Tucker,
The Slits,
Nas,
Boogie Down Productions,
Chrome,
Andrew Hill,
Eve St. Jones,
Radio Birdman,
Angels of Light & Akron/Family,
The Motions,
The Mummies,
Drexciya,
Maleditus Sound,
Marvin Gaye,
Red Lorry Yellow Lorry,
Minny Pops,
Charles Mingus,
Surgeon,
Essential Logic,
Von Mondo,
Half Japanese,
The Smiths,
Crispian St. Peters,
Johnny Osbourne,
David Bowie,
Siouxsie and the Banshees,
Heavy D & The Boyz,
AZ,
The Star Department,
Jesper Dahlback,
June of 44,
Brick,
The Walker Brothers,
Davy DMX,
Rosa Yemen,
Avey Tare's Slasher Flicks,
The Cosmic Jokers,
Skaos,
Agitation Free,
Tubeway Army,
The Litter,
Roy Ayers,
Nick Cave & The Bad Seeds,
Tropical Tobacco,
Severed Heads,
John Holt,
Arcadia,
The Misunderstood,
Newcleus,
Blossom Toes,
Kool Moe Dee,
Kauko Röyhkä ja Narttu,
Cheater Slicks,
Stiv Bators,
Q and Not U,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.