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 Oman and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Manila 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 The Smoke to the dance kids.
I played it at the Crocodile.
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 Cybotron. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
New York Dolls,
Be Bop Deluxe,
Main Source,
Angry Samoans,
Zero Boys,
Section 25,
Derrick May,
Black Bananas,
Inner City,
The Fall,
Kauko Röyhkä ja Narttu,
Camron Feat. Jay Z And Juelz,
Eric Copeland,
Derrick Morgan,
Hashim,
Ten City,
Dorothy Ashby,
London Community Gospel Choir,
Sight & Sound,
Lalann,
Popol Vuh,
Franke,
Rahsaan Roland Kirk,
Kurtis Blow,
Black Pus,
Blancmange,
Monolake,
DJ Style,
Gian Franco Pienzio,
The Saints,
Bronski Beat,
Hardrive,
the Association,
David Axelrod,
The Doobie Brothers,
Grauzone,
Richard Hell and the Voidoids,
Gastr Del Sol,
Black Flag,
Lou Reed,
Robert Hood,
The Knickerbockers,
David McCallum,
The Standells,
K-Klass,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Monks,
Sixth Finger,
Marine Girls,
Barrington Levy,
Kool G Rap & DJ Polo,
Echo & the Bunnymen,
Minny Pops,
The Electric Prunes,
Lower 48,
Echospace,
Desert Stars,
The Detroit Cobras,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.