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 Togo and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Calgary 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the guitar 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 Sexual Harrassment to the funk 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 John Cale. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal funk 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 808 and a harpsichord 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 linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Bill Near,
Gregory Isaacs,
Red Lorry Yellow Lorry,
Rapeman,
Rahsaan Roland Kirk,
Roy Ayers,
Fifty Foot Hose,
the Germs,
Radiopuhelimet,
Cabaret Voltaire,
Don Cherry,
Ronan,
Danielle Patucci,
Tropical Tobacco,
Flamin' Groovies,
E-Dancer,
Mary Jane Girls,
The Golliwogs,
Soul Sonic Force,
Jesper Dahlbäck,
Can,
Bronski Beat,
Symarip,
Scrapy,
T. Rex,
Blancmange,
Eli Mardock,
H. Thieme,
Kango’s Stein Massive,
The Stooges,
Marc Almond,
Suicide,
Albert Ayler,
DJ Style,
The Busters,
D'Angelo,
The Saints,
Bob Dylan,
Barbara Tucker,
Kevin Saunderson,
Erasure,
Curtis Mayfield,
Slick Rick,
Yusef Lateef,
Sparks,
Pere Ubu,
The West Coast Pop Art Experimental Band,
Ice-T,
Rakim,
Kauko Röyhkä ja Narttu,
Deutsch Amerikanische Freundschaft,
The Mighty Diamonds,
The Trojans,
Bizarre Inc.,
Harmonia,
Liliput,
Warren Ellis,
Johnny Osbourne,
Skarface,
The Names, The Names, The Names, The Names.
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.