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 Spain and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Japan to the crunk kids.
I played it at Trash.
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 Kinks. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal disco 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 an oboe 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Bill Wells,
Janne Schatter,
Althea and Donna,
Wire,
Metal Thangz,
The Seeds,
Outsiders,
Drexciya,
Roy Ayers,
Archie Shepp,
Whodini,
The Peanut Butter Conspiracy,
Hoover,
Pole,
Animal Collective,
Eric Copeland,
Connie Case,
Dead Boys,
Joe Smooth,
Freddie Wadling,
Basic Channel,
Sex Pistols,
Ultramagnetic MC's,
The Neon Judgement,
Pulsallama,
Reagan Youth,
Brass Construction,
Deadbeat,
Supertramp,
Lou Reed,
Chris & Cosey,
Black Moon,
Television,
Oblivians,
the Sonics,
Pierre Henry,
The Moody Blues,
Hashim,
Moss Icon,
Dennis Brown,
Lou Reed & John Cale,
Technova,
Ultravox,
Rites of Spring,
Angels of Light & Akron/Family,
Theoretical Girls,
Notorious BIG live in Amsterdam,
Soft Machine,
Stockholm Monsters,
Terrestrial Tones,
Sticky Fingaz feat. Raekwon,
Jacob Miller,
LL Cool J,
Jerry Gold Smith,
New York Dolls,
Clear Light,
Lindisfarne,
Grey Daturas,
Youth Brigade,
One Last Wish,
Lou Reed & Metallica,
a-ha,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.