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 India and from Accra.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Taipei 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 Human League practice in a loft in Sheffield.
I was working on the organ 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 Man Eating Sloth to the electroclash kids.
I played it at CBGB's.
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 Dark Day. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb 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?
Minor Threat,
Marvin Gaye,
Roy Ayers Ubiquity,
Magazine,
Marcia Griffiths,
Sex Pistols,
David Bowie,
Heavy D & The Boyz,
Kauko Röyhkä ja Narttu,
Stiv Bators,
Connie Case,
Oblivians,
Mantronix,
Absolute Body Control,
Deakin,
The Remains,
Rekid,
the Germs,
Pylon,
The Star Department,
Dead Boys,
Lou Reed & John Cale,
Eddi Front,
Eve St. Jones,
Scientists,
Selector Dub Narcotic,
Joe Smooth,
Ultimate Spinach,
Section 25,
Sly & The Family Stone,
Crispian St. Peters,
Jeff Mills,
Fort Wilson Riot,
Joey Negro,
Tomorrow,
The Stooges,
Terrestrial Tones,
The Pop Group,
The Beau Brummels,
Eric Dolphy,
Scion,
Symarip,
The Offenders,
Pharaoh Sanders and the Fire Engines,
Reagan Youth,
John Lydon,
Pulsallama,
The Vogues,
Motorama,
Crooked Eye,
Pete Rock & C.L. Smooth,
Suicide,
Bronski Beat,
Soft Cell,
Monolake,
Harry Pussy,
Maurizio,
Skarface,
Robert Wyatt,
The Doors,
Girls At Our Best!,
Mandrill,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.