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 Germany and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
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 2001 at the first Tiga practice in a loft in Montreal.
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 Crime to the rap kids.
I played it at the Troubador.
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 Simply Red. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar 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 arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Circle Jerks,
The Vogues,
Laurel Aitken,
Josef K,
John Coltrane,
The Leaves,
Minny Pops,
Brick,
Trumans Water,
The Smoke,
Michelle Simonal,
The Busters,
Public Image Ltd.,
The Moody Blues,
The Evens,
The Standells,
Pylon,
Crime,
Avey Tare & Kría Brekkan,
Loose Ends,
Main Source,
Livin' Joy,
Stetsasonic,
Juan Atkins,
Gregory Isaacs,
Con Funk Shun,
Rotary Connection,
Louis and Bebe Barron,
The Tremeloes,
Gian Franco Pienzio,
Traffic Nightmare,
Amon Düül,
UT,
Tim Buckley,
Althea and Donna,
The New Christs,
Adolescents,
Alton Ellis,
Wighnomy Brothers & Robag Wruhme,
Black Flag,
Nation of Ulysses,
The Cure,
Accadde A,
Cameo,
Kaleidoscope,
Kango’s Stein Massive,
Donald Byrd,
8 Eyed Spy,
Graham Central Station,
Deutsch Amerikanische Freundschaft,
It's A Beautiful Day,
Zero Boys,
The Misunderstood,
Suicide,
The Slackers,
Public Enemy,
The Kinks,
Skriet,
Idris Muhammad,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.