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 Latvia and from New York.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Crash Course in Science to the crunk 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 CMW. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Dennis Brown,
Radiohead,
The Durutti Column,
The Trojans,
the Association,
Khruangbin,
Depeche Mode,
Mantronix,
The Busters,
Fluxion,
Joensuu 1685,
The Music Machine,
The Victims,
The J.B.'s,
Make Up,
Popol Vuh,
Red Lorry Yellow Lorry,
Gang Gang Dance,
Amazonics,
Television,
Los Fastidios,
Lalann,
Ludus,
Stockholm Monsters,
Fat Boys,
Bobby Womack,
Sparks,
Tubeway Army,
Cameo,
Infiniti,
Pierre Henry,
Scrapy,
Unwound,
Byron Stingily,
Country Joe & The Fish,
Animal Collective,
The Electric Prunes,
Erykah Badu,
The Red Krayola,
Schoolly D,
Heaven 17,
Chrome,
Aswad,
John Cale,
Sight & Sound,
The Leaves,
Ossler,
Camron Feat. Memphis Bleek And Beenie Seigel,
EPMD,
The Names,
Soulsonic Force,
Donny Hathaway,
Dorothy Ashby,
Stetsasonic,
Scion,
the Germs,
X-101,
Youth Brigade,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.