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 Uruguay and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Davy DMX to the jazz kids.
I played it at the Roxy.
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 Mission of Burma. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Interpol 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Tomorrow,
Flamin' Groovies,
Q and Not U,
Sound Behaviour,
Heaven 17,
B.T. Express,
Althea and Donna,
The Tremeloes,
K-Klass,
JFA,
Spandau Ballet,
Bobby Hutcherson,
The Fortunes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scion,
Ronnie Foster,
Gil Scott Heron,
DJ Style,
Marc Almond,
Severed Heads,
Pagans,
Amon Düül,
Angry Samoans,
Kenny Larkin,
Spoonie Gee,
June Days,
Bush Tetras,
Agent Orange,
Mr. Review,
Stetsasonic,
Country Joe & The Fish,
Metal Thangz,
Gian Franco Pienzio,
Jeff Mills,
The Zeros,
Youth Brigade,
Kayak,
Pylon,
Bluetip,
Pet Shop Boys,
Electric Light Orchestra,
Moebius,
The Fall,
Delon & Dalcan,
R.M.O.,
Shuggie Otis,
Wighnomy Brothers & Robag Wruhme,
Jesper Dahlbäck,
Zapp,
Television Personalities,
The West Coast Pop Art Experimental Band,
Clear Light,
Tommy Roe,
Connie Case,
Unwound,
Marcia Griffiths,
Maleditus Sound,
Accadde A,
Chris & Cosey,
Motorama,
The Pretty Things,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.