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 Cape Verde and from Milan.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 Ubu practice in a loft in Cleveland.
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 Buzzcocks to the grime 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 Hoover. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Dark Day,
The Peanut Butter Conspiracy,
Ludus,
Barry Ungar,
Fifty Foot Hose,
Fort Wilson Riot,
The Royal Family And The Poor,
June Days,
Pulsallama,
Subhumans,
The Associates,
Donny Hathaway,
Althea and Donna,
Davy DMX,
Jerry's Kids,
the Soft Cell,
James Chance & The Contortions,
World's Most,
Strawberry Alarm Clock,
The Offenders,
The Mighty Diamonds,
Soft Machine,
Man Parrish,
Thompson Twins,
Tomorrow,
Orchestral Manoeuvres in the Dark,
X-Ray Spex,
The Alarm Clocks,
Andrew Ashong & Theo Parrish,
Scott Walker,
New York Dolls,
the Slits,
Marcia Griffiths,
Wire,
The Golliwogs,
Groovy Waters,
Deutsch Amerikanische Freundschaft,
DJ Style,
Hasil Adkins,
The Fire Engines,
Massinfluence,
The Seeds,
Iggy Pop,
The Tremeloes,
Idris Muhammad,
Vaughan Mason & Crew,
Supertramp,
Avey Tare's Slasher Flicks,
Anakelly,
Beasts of Bourbon,
Bobbi Humphrey,
London Community Gospel Choir,
Panda Bear,
The Residents,
Delon & Dalcan,
Boredoms,
The Music Machine,
Pole,
Pantaleimon,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.