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 India and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1975.
I'm losing my edge.
To all the kids in Delhi and Columbus.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 the Soft Cell to the funk kids.
I played it at the Spitz.
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 Cure. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Nick Cave & The Bad Seeds,
Jawbox,
Ken Boothe,
Half Japanese,
Angry Samoans,
Roxy Music,
New York Dolls,
Marcia Griffiths,
Joe Finger,
Ralphi Rosario,
Public Enemy,
Ossler,
Loose Ends,
Al Stewart,
The Remains,
Bizarre Inc.,
The Velvet Underground,
Cymande,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Louis and Bebe Barron,
Ice-T,
Jimmy McGriff,
Organ,
Lafayette Afro Rock Band,
Laurel Aitken,
Eric B and Rakim,
Thinking Fellers Union Local 282,
Fatback Band,
The Busters,
Bronski Beat,
Scratch Acid,
Scan 7,
Manfred Mann's Earth Band,
Symarip,
Shuggie Otis,
Kerrie Biddell,
The Motions,
Bobbi Humphrey,
Reagan Youth,
The Beau Brummels,
Slick Rick,
Sonny Sharrock,
Scion,
Harpers Bizarre,
Oneida,
Faust,
Minnie Riperton,
Tubeway Army,
Ronan,
The West Coast Pop Art Experimental Band,
Ultravox,
Grandmaster Flash,
Underground Resistance,
La Düsseldorf,
Bluetip,
Morten Harket,
Clear Light,
Bang On A Can,
Byron Stingily,
Dorothy Ashby,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.