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 San Marino and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 York Dolls to the jazz kids.
I played it at the Hacienda.
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 Eric Copeland. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal grime 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 a theremin 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 güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Tom Boy,
Kerri Chandler,
The Move,
Ultra Naté,
The Jesus and Mary Chain,
The Fire Engines,
Fat Boys,
Neil Young,
The Remains,
The Happenings,
Siglo XX,
Fugazi,
The Men They Couldn't Hang,
Shuggie Otis,
Cabaret Voltaire,
Ash Ra Tempel,
Urselle,
Deadbeat,
Fifty Foot Hose,
Altered Images,
The Index,
Nick Cave & The Bad Seeds,
Qualms,
Louis and Bebe Barron,
Davy DMX,
Adolescents,
The Angels of Light,
The Martian,
Half Japanese,
Magma,
T. Rex,
Panda Bear,
Make Up,
Lou Reed & Metallica,
Aaron Thompson,
Whodini,
De La Soul & Jungle Brothers,
Robert Görl,
Gang Green,
Jacques Brel,
Basic Channel,
Colin Newman,
Anthony Braxton,
The Victims,
Nik Kershaw,
Au Pairs,
Eli Mardock,
Marc Romboy vs. Booka Shade,
The New Christs,
Henry Cow,
Derrick May,
The Pop Group,
Country Joe & The Fish,
Barrington Levy,
Stereo Dub,
Jeff Lynne,
Television Personalities,
The Detroit Cobras,
The Pretty Things,
JFA,
Eve St. Jones,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.