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 Lebanon and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
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 Eric B and Rakim to the disco 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 Gang Gang Dance. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal rock 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 snare and a rhodes 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 oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Warsaw,
Procol Harum,
The Alarm Clocks,
Eric B and Rakim,
Kerrie Biddell,
The Fall,
Young Marble Giants,
Massinfluence,
Derrick Morgan,
The Chocolate Watch Band,
X-Ray Spex,
Tom Boy,
Chrome,
Dr. Dre and Snoop Doggy Dog,
The Gap Band,
Scott Walker + Sunn O))),
Nick Fraelich,
PIL,
Arthur Verocai,
Josef K,
Alton Ellis,
These Immortal Souls,
Electric Light Orchestra,
Pulsallama,
Q and Not U,
Lonnie Liston Smith,
Bobby Sherman,
a-ha,
John Holt,
Model 500,
Yellowson,
Pere Ubu,
Throbbing Gristle,
Sound Behaviour,
Essential Logic,
The Wake,
Rapeman,
Country Joe & The Fish,
John Cale,
Dual Sessions,
Gian Franco Pienzio,
Eric Copeland,
Dark Day,
Electric Prunes,
Pantytec,
Eric Dolphy,
The Seeds,
Slave,
Crime,
Chris Corsano,
Bang on a Can All-Stars,
The American Breed,
Oblivians,
The Fugs,
Albert Ayler,
Make Up,
Susan Cadogan,
Jawbox,
Mandrill,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.