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 Montenegro and from Accra.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Absolute Body Control 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 Minor Threat. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal rap 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 an organ and a clarinet 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 synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Eyeless In Gaza,
The American Breed,
The Red Krayola,
Darondo,
The Divine Comedy,
Massinfluence,
Inner City,
Faust,
Scan 7,
Arthur Verocai,
Buzzcocks,
Be Bop Deluxe,
Grauzone,
The Fire Engines,
Donny Hathaway,
Steve Hackett,
Das Ding,
The Dave Clark Five,
Bob Dylan,
Moss Icon,
Toni Rubio,
Glambeats Corp.,
Maurizio,
Parry Music,
David McCallum,
Black Bananas,
Siouxsie and the Banshees,
The Names,
Soul II Soul,
Ponytail,
Sexual Harrassment,
Marine Girls,
Robert Hood,
Gang Starr,
The Royal Family And The Poor,
Index,
ABC,
Roger Hodgson,
Oneida,
Eli Mardock,
MC5,
The Buckinghams,
Boz Scaggs,
Electric Light Orchestra,
Joyce Sims,
Mary Jane Girls,
Brass Construction,
the Swans,
Boredoms,
Derrick May,
The Smiths,
Jawbox,
Lou Reed,
Schoolly D,
Stetsasonic,
Sonny Sharrock,
Al Stewart,
Dead Boys,
Hardrive,
Barry Ungar,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.