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 Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 London Community Gospel Choir to the techno kids.
I played it at CBGB's.
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 Little Man. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
The Dirtbombs,
Leonard Cohen,
Gil Scott-Heron & Brian Jackson,
Average White Band,
Oneida,
K-Klass,
Clear Light,
The Gap Band,
Lucky Dragons,
Bobby Hutcherson,
Spandau Ballet,
F. McDonald,
Sound Behaviour,
Arthur Verocai,
Man Parrish,
Notorious BIG live in Amsterdam,
Gang Green,
Y Pants,
Peter & Gordon,
Accadde A,
Cybotron,
Franke,
Yazoo,
The Slits,
Nico,
Das Ding,
Television,
The Barracudas,
Grandmaster Flash,
Wire,
Swans,
Lower 48,
Bobby Byrd,
Intrusion,
Ralphi Rosario,
Harry Pussy,
Sparks,
The Gories,
Maleditus Sound,
LL Cool J,
Juan Atkins,
Wasted Youth,
Parry Music,
Eric B and Rakim,
Chris & Cosey,
Television Personalities,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Hasil Adkins,
Freddie Wadling,
Darondo,
Agent Orange,
Wighnomy Brothers & Robag Wruhme,
James White and The Blacks,
Todd Rundgren,
Blake Baxter,
Gerry Rafferty,
48th St. Collective,
Curtis Mayfield,
Terror Squad Feat. Camron,
Roger Hodgson,
Camouflage,
The Victims, The Victims, The Victims, The Victims.
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.