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 Barbados and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 cv313 to the electroclash 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 Public Enemy. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal rock 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 a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Masters at Work,
Aswad,
The Trojans,
Kings Of Tomorrow,
Mandrill,
Donald Byrd,
K-Klass,
Simply Red,
Half Japanese,
Drexciya,
Aural Exciters,
In Retrospect,
R.M.O.,
The Toasters,
Notorious Big And Bone Thugs,
Sparks,
David Bowie,
Tres Demented,
Tom Boy,
Technova,
Roy Ayers Ubiquity,
The Red Krayola,
the Soft Cell,
Nik Kershaw,
Bobby Hutcherson,
Little Man,
Oneida,
Terrestrial Tones,
Judy Mowatt,
The Saints,
Skriet,
Electric Light Orchestra,
Pere Ubu,
Whodini,
Parry Music,
the Swans,
Pete Rock & C.L. Smooth,
The Birthday Party,
The Cowsills,
The Wake,
Joey Negro,
Junior Murvin,
Eric Dolphy,
Major Organ And The Adding Machine,
The Music Machine,
Laurel Aitken,
The Neon Judgement,
Black Moon,
Tropical Tobacco,
Traffic Nightmare,
Charles Mingus,
Audionom,
Sonic Youth,
Ralphi Rosario,
the Association,
Motorama,
Minutemen,
Flipper,
Funkadelic,
Hoover,
Althea and Donna,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.