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 Libya and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Walker Brothers to the electroclash kids.
I played it at the Spitz.
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 Lafayette Afro Rock Band. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every David McCallum 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar 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 chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
The Stooges,
10cc,
The Royal Family And The Poor,
Radiopuhelimet,
Grey Daturas,
Man Parrish,
Wire,
The Searchers,
Soulsonic Force,
Vainqueur,
Blossom Toes,
Drive Like Jehu,
F. McDonald,
The American Breed,
The Modern Lovers,
Masters at Work,
ABC,
Brick,
Toni Rubio,
London Community Gospel Choir,
The Knickerbockers,
Pere Ubu,
The Martian,
Steve Hackett,
Minutemen,
The Red Krayola,
Big Daddy Kane,
Jeru the Damaja,
Pussy Galore,
Flash Fearless,
Rhythm & Sound,
The Sound,
Quando Quango,
Be Bop Deluxe,
Susan Cadogan,
Wally Richardson,
Ultimate Spinach,
Sun Ra Arkestra,
Röyhkä ja Rättö ja Lehtisalo,
Robert Görl,
Stereo Dub,
Rahsaan Roland Kirk,
Zero Boys,
The Motions,
Silicon Teens,
Fatback Band,
Faraquet,
Sällskapet,
The Busters,
Nils Olav,
Albert Ayler,
The Kinks,
Crime,
Bobby Womack,
Carl Craig,
Todd Terry,
The Chocolate Watch Band,
Sugar Minott,
Underground Resistance,
ABBA,
Alison Limerick,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.