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 Bulgaria and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Star Department to the disco kids.
I played it at the 40 Watt.
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 Music Machine. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The Smoke,
Nils Olav,
Roy Ayers,
Marshall Jefferson,
Heavy D & The Boyz,
Ohio Players,
Al Stewart,
Wally Richardson,
The Walker Brothers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lyres,
Soulsonic Force,
The Searchers,
Maurizio,
Nick Fraelich,
Los Fastidios,
Colin Newman,
Dark Day,
Reuben Wilson,
Crispy Ambulance,
Deepchord,
Shoche,
Pulsallama,
Idris Muhammad,
Joyce Sims,
Essential Logic,
Erykah Badu,
Accadde A,
X-102,
Faust,
a-ha,
John Coltrane,
Kayak,
The Techniques,
Black Sheep,
Alison Limerick,
PIL,
The Vogues,
Dorothy Ashby,
Metal Thangz,
Spandau Ballet,
The Monks,
Deadbeat,
ABBA,
The Tremeloes,
Be Bop Deluxe,
Scientists,
Stiv Bators,
The Divine Comedy,
Scan 7,
Fad Gadget,
Spoonie Gee,
Public Image Ltd.,
Funky Four + One,
Mark Hollis,
The Black Dice,
The New Christs,
Zapp,
Sexual Harrassment,
Alice Coltrane,
The Neon Judgement,
MDC,
Gong,
Inner City, Inner City, Inner City, Inner City.
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.