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 Seychelles and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 the Fania All-Stars to the rap 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 Deadbeat. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Roxette 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum 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 synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Motorama,
Tropical Tobacco,
Larry & the Blue Notes,
Amon Düül,
Brothers Johnson,
Malaria!,
Gang of Four,
A Certain Ratio,
Eyeless In Gaza,
Ash Ra Tempel,
Funky Four + One,
Kas Product,
Magazine,
Little Man,
Terry Callier,
Chris & Cosey,
Neil Young & Crazy Horse,
Babytalk,
Sister Nancy,
Black Moon,
Toni Rubio,
Thee Headcoats,
Sugar Minott,
the Normal,
Fela Kuti,
Mary Jane Girls,
Roy Ayers Ubiquity,
Oblivians,
Carl Craig,
Moss Icon,
the Slits,
Camouflage,
Röyhkä ja Rättö ja Lehtisalo,
UT,
The Sonics,
Gian Franco Pienzio,
Faraquet,
A Flock of Seagulls,
Organ,
Peter and Kerry,
Unwound,
Sandy B,
Eve St. Jones,
Blossom Toes,
The Moleskins,
The Saints,
The Neon Judgement,
John Lydon,
Captain Beefheart & His Magic Band,
Be Bop Deluxe,
The Count Five,
John Foxx,
Jerry's Kids,
Marc Romboy vs. Booka Shade,
The Dirtbombs,
The Stooges,
Bluetip,
Super Lover Cee & Casanova Rud,
Minor Threat,
Mars,
Girls At Our Best!,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.