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 China and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Lightning Bolt to the funk kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Agent Orange 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
10cc,
Skarface,
Avey Tare,
Darondo,
Stockholm Monsters,
The Men They Couldn't Hang,
Can,
The Dead C,
Soft Machine,
Liaisons Dangereuses,
New Order,
Mantronix,
Jerry Gold Smith,
Spoonie Gee,
Babytalk,
The Victims,
UT,
Max Romeo,
Electric Prunes,
The Birthday Party,
Joensuu 1685,
Animal Collective,
JFA,
The Alarm Clocks,
Godley & Creme,
Kool Moe Dee,
Robert Wyatt,
Rowland S Howard / Lydia Lunch,
Anthony Braxton,
Fear,
8 Eyed Spy,
Bronski Beat,
Pulsallama,
Rahsaan Roland Kirk,
Johnny Osbourne,
Gabor Szabo,
John Lydon,
Deutsch Amerikanische Freundschaft,
Smog,
Bang On A Can,
Eric Copeland,
Be Bop Deluxe,
Marc Romboy vs. Booka Shade,
Parry Music,
The Barracudas,
Monks,
The Gories,
Shoche,
Strawberry Alarm Clock,
L. Decosne,
Matthew Halsall,
Andrew Ashong & Theo Parrish,
Sex Pistols,
Joyce Sims,
Procol Harum,
Grandmaster Flash,
Morten Harket,
Fela Kuti,
Delon & Dalcan,
Lalo Schifrin,
The Tremeloes,
Mo-Dettes,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.