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 Somalia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Kinks to the grunge 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 Negative Approach. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
The Seeds,
John Lydon,
Kool G Rap & DJ Polo,
The Trojans,
Connie Case,
PIL,
Black Sheep,
The Fuzztones,
Sonny Sharrock,
Yaz,
Jeff Mills,
Manfred Mann's Earth Band,
Boz Scaggs,
Essential Logic,
Rod Modell,
Idris Muhammad,
Oblivians,
Clear Light,
Hardrive,
The Happenings,
The Victims,
Los Fastidios,
Siglo XX,
David Axelrod,
The West Coast Pop Art Experimental Band,
Deadbeat,
David McCallum,
The Neon Judgement,
China Crisis,
Public Enemy,
Carl Craig,
FM Einheit,
The Residents,
Skarface,
These Immortal Souls,
Sister Nancy,
Masters at Work,
Al Stewart,
Parry Music,
World's Most,
Junior Murvin,
Au Pairs,
Spoonie Gee,
Man Eating Sloth,
Fear,
Duran Duran,
Underground Resistance,
Hashim,
Arcadia,
Fad Gadget,
The Gap Band,
The Peanut Butter Conspiracy,
the Fania All-Stars,
Heaven 17,
Bronski Beat,
The Detroit Cobras,
London Community Gospel Choir,
The Birthday Party,
Boogie Down Productions,
Jeru the Damaja,
Scott Walker + Sunn O))),
Beasts of Bourbon,
Index, Index, Index, Index.
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.