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 Micronesia and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 New Order to the grunge kids.
I played it at Trash.
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 Minutemen. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a sitar 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 sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
The Black Dice,
Rapeman,
World's Most,
Joensuu 1685,
Barclay James Harvest,
Ultramagnetic MC's,
Jesper Dahlbäck,
Howard Jones,
Agent Orange,
Lou Reed,
PIL,
The Jesus and Mary Chain,
The Walker Brothers,
Jeru the Damaja,
Gong,
Jimmy McGriff,
Alton Ellis,
Deepchord,
Deakin,
The Gun Club,
Gil Scott-Heron and Jamie xx,
Derrick May,
Wolf Eyes,
Severed Heads,
Bobby Byrd,
Wally Richardson,
Mo-Dettes,
Erasure,
The Slits,
Negative Approach,
Kauko Röyhkä ja Narttu,
Al Stewart,
Bang On A Can,
Saccharine Trust,
The Victims,
The Moody Blues,
The Monks,
The Wake,
Sight & Sound,
Big Daddy Kane,
Marc Romboy vs. Booka Shade,
the Germs,
Johnny Osbourne,
Unwound,
Gian Franco Pienzio,
Lightning Bolt,
Intrusion,
Cameo,
A Certain Ratio,
Easy Going,
Gang Gang Dance,
The Toasters,
Wighnomy Brothers & Robag Wruhme,
Metal Thangz,
Terrestrial Tones,
James White and The Blacks,
Moby Grape,
The Angels of Light,
EPMD,
Mission of Burma,
Roger Hodgson,
Inner City, Inner City, Inner City, Inner City.
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.