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 Haiti and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Mumbai 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 Captain Beefheart 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 Nas to the disco kids.
I played it at the 40 Watt.
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 Maurizio. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a snare 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 sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Judy Mowatt,
Soft Cell,
Andrew Ashong & Theo Parrish,
The Litter,
Delta 5,
The Five Americans,
Soul II Soul,
The Knickerbockers,
David Bowie,
Minnie Riperton,
Masters at Work,
The Misunderstood,
Lungfish,
Swans,
The Leaves,
Buzzcocks,
Sister Nancy,
Arthur Verocai,
The Gladiators,
Au Pairs,
Alphaville,
Grandmaster Flash,
Lightning Bolt,
MC5,
Nico,
Robert Wyatt,
Swell Maps,
DJ Style,
Hot Snakes,
The Count Five,
Spandau Ballet,
Agitation Free,
Gil Scott-Heron and Jamie xx,
Warsaw,
Second Layer,
Joey Negro,
Henry Cow,
Gang Green,
Saccharine Trust,
The Young Rascals,
Lindisfarne,
Pulsallama,
The Monks,
Q and Not U,
Heavy D & The Boyz,
Kool G Rap & DJ Polo,
Ornette Coleman,
Model 500,
Shuggie Otis,
David McCallum,
The Grass Roots,
The Happenings,
Electric Light Orchestra,
The Skatalites,
Scott Walker,
Carl Craig,
Gil Scott-Heron & Brian Jackson,
the Soft Cell,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.