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 Somalia and from Lagos.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers to the techno 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 The Techniques. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a clarinet 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 sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Black Flag,
Boogie Down Productions,
Warsaw,
Qualms,
The Smoke,
Rhythm & Sound,
The Zeros,
Mary Jane Girls,
Flamin' Groovies,
Unrelated Segments,
Todd Terry,
The Misunderstood,
The Human League,
Roger Hodgson,
Peter and Kerry,
The Gap Band,
Parry Music,
Bad Manners,
Donny Hathaway,
Scratch Acid,
Blossom Toes,
Pet Shop Boys,
Teenage Jesus and the Jerks,
Selector Dub Narcotic,
The Shadows of Knight,
The Slits,
Johnny Clarke,
Scion,
Ludus,
The Slackers,
Angry Samoans,
Brothers Johnson,
Flipper,
Rekid,
A Certain Ratio,
Liliput,
Whodini,
Delta 5,
Glenn Branca,
Big Daddy Kane,
Theoretical Girls,
Sparks,
PIL,
Maleditus Sound,
Rowland S Howard / Lydia Lunch,
Terror Squad Feat. Camron,
The Jesus and Mary Chain,
Young Marble Giants,
Magma,
The Divine Comedy,
Wolf Eyes,
Oneida,
Bush Tetras,
Kayak,
Television,
Jeff Lynne,
Absolute Body Control,
Icehouse,
Deutsch Amerikanische Freundschaft,
DJ Style,
MC5,
The Dead C,
KRS-One,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.