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 Nauru and from Tehran.
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 1969 to 1978.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Edmonton 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Sad Lovers and Giants to the rap 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 Malaria!. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Sight & Sound,
Rhythim Is Rhythim,
Tommy Roe,
Echospace,
The Standells,
The Pretty Things,
Avey Tare's Slasher Flicks,
Public Enemy,
June of 44,
Kool G Rap & DJ Polo,
Ohio Players,
The Victims,
Sonic Youth,
Ronnie Foster,
Warren Ellis,
Ash Ra Tempel,
Duran Duran,
Bauhaus,
Adolescents,
Junior Murvin,
Al Stewart,
Andrew Ashong & Theo Parrish,
Circle Jerks,
Blossom Toes,
Moby Grape,
Blancmange,
The Moody Blues,
Gastr Del Sol,
Peter and Kerry,
Ludus,
The Mojo Men,
The Misunderstood,
Dual Sessions,
Boredoms,
Barbara Tucker,
London Community Gospel Choir,
Funkadelic,
The Grass Roots,
Donny Hathaway,
Lalo Schifrin,
Bang On A Can,
Scion,
The Fall,
the Germs,
Fear,
Black Moon,
Monks,
Delon & Dalcan,
Avey Tare,
Nas,
Godley & Creme,
Quadrant,
Neu!,
The Monks,
Boz Scaggs,
Ossler,
Amazonics,
Pole,
Pussy Galore,
Gil Scott Heron,
Lalann,
Black Pus, Black Pus, Black Pus, Black Pus.
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.