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 Brunei and from Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1978.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Mumbai 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 Nile Rodgers 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 Names to the techno 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every The Smoke 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar 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 snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
In Retrospect,
The Jesus and Mary Chain,
Barbara Tucker,
Pole,
Dave Gahan,
T. Rex,
Hashim,
the Swans,
Joe Smooth,
Jandek,
Man Parrish,
Second Layer,
Maleditus Sound,
Dawn Penn,
ABBA,
The Offenders,
The Beau Brummels,
The Mighty Diamonds,
The Modern Lovers,
The Durutti Column,
David Bowie,
Sam Rivers,
The Litter,
Steve Hackett,
The Smiths,
Cecil Taylor,
Niagra,
Be Bop Deluxe,
Tim Buckley,
MC5,
Stereo Dub,
June Days,
Ohio Players,
Anthony Braxton,
Scrapy,
Morten Harket,
Eric Dolphy,
The West Coast Pop Art Experimental Band,
Kevin Saunderson,
The Moleskins,
Quantec,
Minnie Riperton,
Lou Reed,
Althea and Donna,
De La Soul & Jungle Brothers,
ABC,
Ralphi Rosario,
Donny Hathaway,
Robert Görl,
La Düsseldorf,
Brick,
Camouflage,
James White and The Blacks,
Avey Tare & Kría Brekkan,
Parry Music,
June of 44,
JFA,
Chrome,
Red Lorry Yellow Lorry,
Intrusion,
Pantaleimon,
Clear Light, Clear Light, Clear Light, Clear Light.
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.