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 Nicaragua and from Manila.
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 1978.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Portland 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Busters to the jazz 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 James White and The Blacks. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Byron Stingily,
Jerry's Kids,
The Beau Brummels,
Nation of Ulysses,
Liaisons Dangereuses,
Fluxion,
Richard Hell and the Voidoids,
The Electric Prunes,
Bizarre Inc.,
Country Teasers,
John Foxx,
Fad Gadget,
Soft Machine,
Ajijia Myrayebe,
Gang Gang Dance,
John Cale,
R.M.O.,
Tomorrow,
Scientists,
Mission of Burma,
Hoover,
Drive Like Jehu,
Aural Exciters,
Livin' Joy,
The Raincoats,
The Count Five,
Barry Ungar,
Nils Olav,
Maleditus Sound,
The Martian,
Swans,
Arcadia,
Fifty Foot Hose,
The Fall,
Eurythmics,
Peter & Gordon,
Red Lorry Yellow Lorry,
The Zeros,
the Association,
Leonard Cohen,
Arthur Verocai,
Wally Richardson,
Grandmaster Flash and the Furious Five,
The Pretty Things,
The Doors,
The Misunderstood,
Moby Grape,
Letta Mbulu,
Avey Tare & Kría Brekkan,
Cluster,
Alice Coltrane,
Metal Thangz,
Terrestrial Tones,
Tropical Tobacco,
Traffic Nightmare,
Godley & Creme,
The Dead C,
The Mojo Men,
Pete Rock & C.L. Smooth,
Kerri Chandler,
Dr. Dre and Snoop Doggy Dog,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.