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 Guatemala and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Glasgow and Tokyo.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 Quantec to the electroclash kids.
I played it at the Troubador.
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 Procol Harum. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin 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 chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Cameo,
The Alarm Clocks,
Don Cherry,
Q65,
Mantronix,
Donald Byrd,
Zero Boys,
Icehouse,
Adolescents,
Technova,
Lou Christie,
The Cowsills,
The Raincoats,
Ultravox,
Blossom Toes,
Depeche Mode,
Shoche,
Arthur Verocai,
Blake Baxter,
Susan Cadogan,
The Red Krayola,
Vaughan Mason & Crew,
The Fuzztones,
Camron Feat. Memphis Bleek And Beenie Seigel,
One Last Wish,
Fort Wilson Riot,
Gastr Del Sol,
Deadbeat,
Deepchord,
Neil Young,
Anthony Braxton,
David McCallum,
Thee Headcoats,
Quando Quango,
Newcleus,
Barbara Tucker,
U.S. Maple,
Arab on Radar,
Bootsy's Rubber Band,
Visage,
Minny Pops,
Little Man,
Radio Birdman,
Orchestral Manoeuvres in the Dark,
Crispy Ambulance,
It's A Beautiful Day,
Nils Olav,
Todd Terry,
Kauko Röyhkä ja Narttu,
Gang Gang Dance,
The Mighty Diamonds,
Deakin,
Yazoo,
Dawn Penn,
Scan 7,
Boz Scaggs,
The Moleskins,
Sällskapet,
Nick Cave & The Bad Seeds,
Panda Bear,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.