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 Austria and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Beijing.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Victims to the grime 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 Richard Hell and the Voidoids. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Fat Boys 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer 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 marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
The Fortunes,
ABC,
The American Breed,
The Walker Brothers,
Nik Kershaw,
Unrelated Segments,
These Immortal Souls,
Rekid,
Monks,
Arab on Radar,
The Fire Engines,
Cal Tjader,
Public Image Ltd.,
The Shadows of Knight,
Peter Gordon & Love of Life Orchestra,
Royal Trux,
Sparks,
The Victims,
Suburban Knight,
The Cosmic Jokers,
Sound Behaviour,
The Chocolate Watch Band,
Zapp,
Sad Lovers and Giants,
Altered Images,
Nick Cave & The Bad Seeds,
Glambeats Corp.,
Maurizio,
Excepter,
Visionaries,LMNO, T- Love & Iriscience,
The Evens,
Technova,
Clear Light,
Roxette,
John Coltrane,
John Cale,
Richard Hell and the Voidoids,
The Real Kids,
Nico,
Moss Icon,
Barry Ungar,
The Peanut Butter Conspiracy,
Ken Boothe,
Archie Shepp,
Q and Not U,
Metal Thangz,
Procol Harum,
Soft Machine,
World's Most,
Eric B and Rakim,
Jeff Lynne,
Popol Vuh,
The Zeros,
The Young Rascals,
David Axelrod,
Swell Maps,
Al Stewart,
the Association,
Circle Jerks,
Echospace, Echospace, Echospace, Echospace.
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.