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 Korea South and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school New York 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 theremin 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 Amon Düül II to the dance kids.
I played it at the Spitz.
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 Black Moon. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 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?
Donald Byrd,
New York Dolls,
Roxy Music,
This Heat,
Peter & Gordon,
James White and The Blacks,
Yellowson,
Chrome,
the Germs,
Lalann,
Scientists,
Spandau Ballet,
Terry Callier,
Whodini,
The Blues Magoos,
Metal Thangz,
Eden Ahbez,
Fugazi,
Johnny Osbourne,
Ten City,
Maurizio,
Von Mondo,
Sight & Sound,
Harpers Bizarre,
Drexciya,
Grauzone,
Deakin,
The Pretty Things,
Wally Richardson,
Desert Stars,
Altered Images,
The Remains,
Make Up,
Henry Cow,
Ornette Coleman,
Juan Atkins,
Man Parrish,
Barry Ungar,
Erykah Badu,
Nik Kershaw,
Tropical Tobacco,
Albert Ayler,
Flipper,
Porter Ricks,
The Move,
Sad Lovers and Giants,
Hoover,
the Slits,
Scott Walker + Sunn O))),
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Joe & The Fish,
cv313,
Skarface,
Robert Görl,
Siouxsie and the Banshees,
The Dead C,
Sun City Girls,
Dorothy Ashby,
Pharoah Sanders,
LL Cool J,
Arab on Radar,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.