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 Albania and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Drexciya to the grunge kids.
I played it at Trash.
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 Ten City. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
the Association,
Brick,
Dawn Penn,
Interpol,
Sad Lovers and Giants,
Buzzcocks,
Maurizio,
MC5,
Richard Hell and the Voidoids,
Adolescents,
Lalann,
The Leaves,
Eric Copeland,
Subhumans,
The Electric Prunes,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
Black Sheep,
Das Ding,
Rekid,
Rhythim Is Rhythim,
Quantec,
David McCallum,
The Residents,
Angels of Light & Akron/Family,
FM Einheit,
The Cure,
Nils Olav,
Juan Atkins,
Harry Pussy,
Sight & Sound,
Anthony Braxton,
The Monks,
Heavy D & The Boyz,
Whodini,
Warsaw,
Drive Like Jehu,
the Slits,
Los Fastidios,
Dead Boys,
Danielle Patucci,
These Immortal Souls,
Soul II Soul,
Rowland S Howard / Lydia Lunch,
Neu!,
Reuben Wilson,
Black Moon,
Japan,
Ornette Coleman,
PIL,
The Blues Magoos,
Mark Hollis,
Smog,
Metal Thangz,
Sun Ra,
Jeff Lynne,
The Blackbyrds,
Lebanon Hanover,
Q65,
Nico,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.