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 Mali and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Wire practice in a loft in Watford.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Last Poets to the funk 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 World's Most. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an organ 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Sexual Harrassment,
The West Coast Pop Art Experimental Band,
Eric Dolphy,
June of 44,
Pantytec,
Nick Cave & The Bad Seeds,
Pylon,
Deadbeat,
Lou Reed & John Cale,
In Retrospect,
Underground Resistance,
Ash Ra Tempel,
Barclay James Harvest,
Pierre Henry,
The Gun Club,
Blancmange,
The Invisible,
Goldenarms,
Eden Ahbez,
Simply Red,
Jacques Brel,
Ronnie Foster,
Cluster,
Bobby Hutcherson,
The Monks,
The Dead C,
The Birthday Party,
Tommy Roe,
Banda Bassotti,
Basic Channel,
David McCallum,
Glenn Branca,
Khruangbin,
MC5,
The Raincoats,
Surgeon,
Maurizio,
Man Eating Sloth,
Kerri Chandler,
The Fire Engines,
Red Lorry Yellow Lorry,
Malaria!,
Ten City,
Fifty Foot Hose,
The Move,
Moebius,
The Residents,
Mr. Review,
The Sonics,
Blossom Toes,
Babytalk,
Mars,
Pole,
Janne Schatter,
Rod Modell,
Bluetip,
Hashim, Hashim, Hashim, Hashim.
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.