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 Lesotho and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 In Retrospect to the rock 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 Absolute Body Control. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Colin Newman record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Oppenheimer Analysis,
Hot Snakes,
Oneida,
Matthew Halsall,
Ohio Players,
Jacques Brel,
Fela Kuti,
Orchestral Manoeuvres in the Dark,
Deakin,
The Searchers,
June of 44,
The Electric Prunes,
the Normal,
Parry Music,
Lebanon Hanover,
Sparks,
the Soft Cell,
a-ha,
Manfred Mann's Earth Band,
Model 500,
Gary Puckett & The Union Gap,
Barry Ungar,
The Leaves,
Connie Case,
The Last Poets,
MDC,
Intrusion,
Spoonie Gee,
Duran Duran,
Slave,
Underground Resistance,
EPMD,
Pole,
Brothers Johnson,
Man Parrish,
The Divine Comedy,
Oblivians,
Kas Product,
The Shadows of Knight,
Bill Near,
Idris Muhammad,
Bootsy's Rubber Band,
Ossler,
The Jesus and Mary Chain,
The Names,
Trumans Water,
Bobby Byrd,
Flamin' Groovies,
Accadde A,
Moebius,
Visionaries,LMNO, T- Love & Iriscience,
the Swans,
Animal Collective,
Heaven 17,
Minutemen,
Lafayette Afro Rock Band,
Shoche,
Funkadelic,
The Kinks,
Nik Kershaw,
F. McDonald,
Magazine, Magazine, Magazine, Magazine.
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.