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 Luxembourg and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1979.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 Hasil Adkins to the punk 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 Sad Lovers and Giants. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal rock 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 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 sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Ice-T,
Jesper Dahlbäck,
Eyeless In Gaza,
James Chance & The Contortions,
The Last Poets,
Surgeon,
The Fugs,
Blancmange,
Rotary Connection,
Big Daddy Kane,
Isaac Hayes,
Royal Trux,
Pantaleimon,
Black Flag,
The Sisters of Mercy,
It's A Beautiful Day,
Scan 7,
Carl Craig,
Roy Ayers,
Thompson Twins,
Oblivians,
the Association,
Vladislav Delay,
Saccharine Trust,
Boz Scaggs,
Deepchord,
Underground Resistance,
Derrick May,
Magazine,
U.S. Maple,
Loose Ends,
Donald Byrd,
New York Dolls,
Icehouse,
Ohio Players,
Chris Corsano,
FM Einheit,
Brand Nubian,
Lou Christie,
Frankie Knuckles,
KRS-One,
Duran Duran,
Stockholm Monsters,
Public Enemy,
Beasts of Bourbon,
Moss Icon,
Spoonie Gee,
The Neon Judgement,
Lalann,
The Seeds,
The Cure,
Nas,
Country Teasers,
Nation of Ulysses,
The Remains,
Robert Hood,
Johnny Clarke,
Throbbing Gristle,
Jeff Mills,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.