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 Bangladesh and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Sticky Fingaz feat. Raekwon to the dance 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 Babytalk. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator 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 linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Aural Exciters,
Eric Dolphy,
MC5,
Kings Of Tomorrow,
Das Ding,
Donald Byrd,
Laurel Aitken,
New Order,
Maleditus Sound,
The Star Department,
The Sisters of Mercy,
10cc,
Marmalade,
The West Coast Pop Art Experimental Band,
Index,
Dead Boys,
Excepter,
Be Bop Deluxe,
Cecil Taylor,
Lee Hazlewood,
The Men They Couldn't Hang,
Sandy B,
Rhythim Is Rhythim,
Jandek,
Rosa Yemen,
Stockholm Monsters,
Wally Richardson,
Nils Olav,
Jesper Dahlbäck,
Faust,
the Association,
Ponytail,
L. Decosne,
Dorothy Ashby,
The Trojans,
Dawn Penn,
Skaos,
Pagans,
The Cure,
JFA,
Saccharine Trust,
Archie Shepp,
Sam Rivers,
Susan Cadogan,
Mark Hollis,
Kerrie Biddell,
The United States of America,
Grandmaster Flash and the Furious Five,
Lou Reed,
The Fall,
Heaven 17,
Rhythm & Sound,
Shuggie Otis,
Nirvana,
Television Personalities,
Rahsaan Roland Kirk,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.