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 Liechtenstein and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron 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 Kango’s Stein Massive to the techno 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 Mo-Dettes. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Thee Headcoats 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Anthony Braxton,
Funkadelic,
Kas Product,
The Seeds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Magazine,
48th St. Collective,
Chris & Cosey,
Joy Division,
The Peanut Butter Conspiracy,
Scrapy,
David McCallum,
The Offenders,
Radiohead,
Young Marble Giants,
Orchestral Manoeuvres in the Dark,
EPMD,
Shuggie Otis,
Byron Stingily,
The Real Kids,
Siglo XX,
AZ,
Lizzy Mercier Descloux,
Josef K,
Notorious Big And Bone Thugs,
Make Up,
Liaisons Dangereuses,
Delta 5,
Circle Jerks,
Slave,
Excepter,
Icehouse,
Sarah Menescal,
The Wake,
X-Ray Spex,
Eric B and Rakim,
Trumans Water,
Essential Logic,
Black Sheep,
Eddi Front,
Thompson Twins,
Scott Walker,
Freddie Wadling,
The Slits,
Mark Hollis,
Rahsaan Roland Kirk,
Pulsallama,
Visage,
Zapp,
Negative Approach,
Sun Ra,
Bizarre Inc.,
Vaughan Mason & Crew,
B.T. Express,
Drive Like Jehu,
Avey Tare & Kría Brekkan,
New Order,
Heaven 17,
Bad Manners,
Los Fastidios,
Smog,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.