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 Samoa and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Madrid 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 David Axelrod to the funk 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 The Seeds. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
The Angels of Light,
Sight & Sound,
Liaisons Dangereuses,
Throbbing Gristle,
Man Parrish,
Pet Shop Boys,
The Fire Engines,
Marc Romboy vs. Booka Shade,
New York Dolls,
The Seeds,
Main Source,
Ludus,
Be Bop Deluxe,
Cheater Slicks,
Nik Kershaw,
The Mighty Diamonds,
Make Up,
Henry Cow,
Peter & Gordon,
Amon Düül,
Sunsets and Hearts,
Black Sheep,
Terry Callier,
Kaleidoscope,
Lafayette Afro Rock Band,
Altered Images,
Visage,
Fat Boys,
Tom Boy,
Jimmy McGriff,
Boogie Down Productions,
Barry Ungar,
Stockholm Monsters,
UT,
Hardrive,
Easy Going,
Harpers Bizarre,
The Names,
Drexciya,
Bootsy's Rubber Band,
Ken Boothe,
Stiv Bators,
John Foxx,
Procol Harum,
Slave,
Al Stewart,
The Move,
In Retrospect,
Dual Sessions,
Röyhkä ja Rättö ja Lehtisalo,
Bang On A Can,
One Last Wish,
Strawberry Alarm Clock,
The Smoke,
James Chance & The Contortions,
The Grass Roots,
the Swans,
Moebius,
Stereo Dub,
Ultra Naté,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.