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 Denmark and from Cairo.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Halifax 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 808 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 Easy Going to the techno kids.
I played it at the Hacienda.
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 Teenage Jesus and the Jerks. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s.
I hear you're buying a clarinet 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Brothers Johnson,
Aaron Thompson,
Nick Cave & The Bad Seeds,
The Names,
Unrelated Segments,
Stereo Dub,
Richard Hell and the Voidoids,
Cymande,
Pulsallama,
Gastr Del Sol,
Camberwell Now,
Sexual Harrassment,
Todd Terry,
Michelle Simonal,
Rakim,
Pantaleimon,
Soft Machine,
Organ,
The Slits,
Buzzcocks,
Dr. Dre and Snoop Doggy Dog,
Das Ding,
The Saints,
Howard Jones,
Circle Jerks,
The Gories,
Thee Headcoats,
Super Lover Cee & Casanova Rud,
48th St. Collective,
Franke,
Roger Hodgson,
Grauzone,
Visage,
Charles Mingus,
Maleditus Sound,
Neil Young,
Funkadelic,
Rites of Spring,
Public Enemy,
Harpers Bizarre,
Radio Birdman,
Adolescents,
Suburban Knight,
Avey Tare,
Bobby Hutcherson,
Larry & the Blue Notes,
Model 500,
T. Rex,
The Seeds,
JFA,
Skriet,
Nick Fraelich,
Ultramagnetic MC's,
The Men They Couldn't Hang,
Main Source,
Warsaw,
Robert Görl,
The Happenings,
Wings,
Bauhaus,
Supertramp, Supertramp, Supertramp, Supertramp.
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.