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 Vietnam and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Joey Negro to the grunge 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 Yaz. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
FM Einheit,
Alison Limerick,
Bobby Hutcherson,
The Doobie Brothers,
The Wake,
World's Most,
Sun City Girls,
the Association,
Peter & Gordon,
The Leaves,
The Last Poets,
The Gladiators,
Chrome,
Roxy Music,
Eve St. Jones,
Jacob Miller,
Judy Mowatt,
Traffic Nightmare,
Marc Romboy vs. Booka Shade,
Spoonie Gee,
Quantec,
Scrapy,
Con Funk Shun,
Robert Görl,
Gregory Isaacs,
Ronnie Foster,
Bootsy's Rubber Band,
The Peanut Butter Conspiracy,
Howard Jones,
Grey Daturas,
Gichy Dan,
Kings Of Tomorrow,
Toni Rubio,
Ralphi Rosario,
Franke,
K-Klass,
Unrelated Segments,
Lee Hazlewood,
Royal Trux,
Barbara Tucker,
Fatback Band,
Alphaville,
JFA,
Bobby Byrd,
Half Japanese,
Stockholm Monsters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liliput,
Gang Starr,
Wire,
The Divine Comedy,
The Fugs,
Sunsets and Hearts,
Terror Squad Feat. Camron,
Mantronix,
Vaughan Mason & Crew,
The Flesh Eaters,
Wighnomy Brothers & Robag Wruhme,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.