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 Finland and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Philadelphia 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Mars to the electroclash kids.
I played it at Trash.
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 Kerrie Biddell. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
The Wake,
Talk Talk,
Fugazi,
Jacques Brel,
Boogie Down Productions,
Tropical Tobacco,
Inner City,
Cabaret Voltaire,
Maurizio,
Godley & Creme,
Lebanon Hanover,
Bauhaus,
The Slackers,
Marvin Gaye,
The Shadows of Knight,
John Foxx,
Lee Hazlewood,
Toni Rubio,
Cameo,
Easy Going,
JFA,
The Remains,
The Birthday Party,
Smog,
Nik Kershaw,
Public Enemy,
Roy Ayers,
The West Coast Pop Art Experimental Band,
Negative Approach,
The Motions,
Roger Hodgson,
Alton Ellis,
Darondo,
Pole,
PIL,
John Cale,
The Divine Comedy,
Mission of Burma,
The Alarm Clocks,
The Peanut Butter Conspiracy,
Mandrill,
A Certain Ratio,
Ultra Naté,
T. Rex,
Kango’s Stein Massive,
the Slits,
Eric Dolphy,
Kool G Rap & DJ Polo,
Nirvana,
DJ Sneak,
Janne Schatter,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Jerry's Kids,
Brothers Johnson,
Big Daddy Kane,
Black Moon,
Marcia Griffiths,
Bobby Hutcherson,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.