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 Antigua and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Scratch Acid to the jazz kids.
I played it at Cafe Wha.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ 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 rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Hot Snakes,
Rufus Thomas,
the Soft Cell,
The Sound,
The Birthday Party,
The Kinks,
The Last Poets,
Rakim,
Magma,
The Blues Magoos,
Nico,
Gichy Dan,
Alison Limerick,
Röyhkä ja Rättö ja Lehtisalo,
Yusef Lateef,
Avey Tare's Slasher Flicks,
Funky Four + One,
Surgeon,
Depeche Mode,
Black Sheep,
The Five Americans,
Vainqueur,
Ludus,
Electric Light Orchestra,
The Fugs,
Japan,
the Normal,
One Last Wish,
The Durutti Column,
Scott Walker + Sunn O))),
OOIOO,
Bang on a Can All-Stars,
Adolescents,
Panda Bear,
The Vogues,
Wire,
Jimmy McGriff,
Pulsallama,
Ash Ra Tempel,
Bobby Hutcherson,
Symarip,
Louis and Bebe Barron,
Jerry's Kids,
Kurtis Blow,
Jacques Brel,
The Gap Band,
John Foxx,
Spoonie Gee,
Malaria!,
Patti Smith,
The Modern Lovers,
The Doobie Brothers,
Kauko Röyhkä ja Narttu,
Black Moon,
Peter and Kerry,
Oneida,
Larry & the Blue Notes,
Anakelly,
Q65,
Khruangbin,
Half Japanese,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.