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 Cyprus and from Milan.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Jawbox to the crunk kids.
I played it at CBGB's.
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 Gian Franco Pienzio. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every The Gladiators 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe 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 theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Jacob Miller,
Severed Heads,
Byron Stingily,
Bronski Beat,
Jesper Dahlbäck,
Pagans,
Tubeway Army,
The Mojo Men,
Terry Callier,
Clear Light,
Stiv Bators,
Marine Girls,
Bill Near,
X-102,
Fort Wilson Riot,
John Holt,
Nation of Ulysses,
Frankie Knuckles,
Warren Ellis,
A Certain Ratio,
New Age Steppers,
T.S.O.L.,
Reuben Wilson,
Minny Pops,
Ralphi Rosario,
Bobby Hutcherson,
Echo & the Bunnymen,
Slave,
Suburban Knight,
Be Bop Deluxe,
Soft Machine,
Neu!,
the Slits,
Eric Dolphy,
Erasure,
Little Man,
Cameo,
Deutsch Amerikanische Freundschaft,
Dennis Brown,
Alphaville,
Matthew Halsall,
Television Personalities,
Mary Jane Girls,
Circle Jerks,
Siouxsie and the Banshees,
Ash Ra Tempel,
Nico,
Black Moon,
Wighnomy Brothers & Robag Wruhme,
Graham Central Station,
Sad Lovers and Giants,
The Gap Band,
Khruangbin,
Harpers Bizarre,
The Fall,
B.T. Express,
The Men They Couldn't Hang,
The Walker Brothers,
The Cramps,
Hot Snakes,
Orchestral Manoeuvres in the Dark,
Roy Ayers,
Dark Day, Dark Day, Dark Day, Dark Day.
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.