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 Togo and from Hong Kong.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 In Retrospect to the crunk kids.
I played it at the Astoria.
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 Ossler. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet 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?
Deutsch Amerikanische Freundschaft,
Brothers Johnson,
Sunsets and Hearts,
Art Ensemble Of Chicago,
Wire,
Half Japanese,
Ornette Coleman,
Loose Ends,
The Searchers,
Vladislav Delay,
Rakim,
Porter Ricks,
Visionaries,LMNO, T- Love & Iriscience,
Theoretical Girls,
Avey Tare's Slasher Flicks,
Wasted Youth,
Thinking Fellers Union Local 282,
Dave Gahan,
Minor Threat,
In Retrospect,
Yellowson,
Bill Wells,
Average White Band,
Newcleus,
Kerrie Biddell,
Lindisfarne,
Pharoah Sanders,
Ultra Naté,
Thee Headcoats,
JFA,
Drive Like Jehu,
Mars,
Ultravox,
Gil Scott-Heron and Jamie xx,
Zapp,
Todd Terry,
MDC,
The Victims,
Hoover,
Scientists,
Chrome,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joe Smooth,
Sun Ra Arkestra,
Altered Images,
Tom Boy,
48th St. Collective,
Swell Maps,
Jerry's Kids,
The Barracudas,
Kauko Röyhkä ja Narttu,
The West Coast Pop Art Experimental Band,
Slave,
Black Pus,
Ohio Players,
Con Funk Shun,
Prince Buster,
The Evens,
Ten City,
The Toasters,
Maurizio,
Monks, Monks, Monks, Monks.
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.