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 Netherlands and from Lagos.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer 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 Oblivians to the grime kids.
I played it at the Crocodile.
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 Sixth Finger. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Circle Jerks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
10cc,
Newcleus,
L. Decosne,
John Foxx,
Sällskapet,
Spoonie Gee,
Siouxsie and the Banshees,
Maurizio,
Throbbing Gristle,
The Barracudas,
Marcia Griffiths,
Das Ding,
Grandmaster Flash,
Rites of Spring,
The Velvet Underground,
In Retrospect,
Derrick Morgan,
Sonny Sharrock,
The Durutti Column,
The Saints,
Althea and Donna,
The Fall,
UT,
Kool G Rap & DJ Polo,
Amazonics,
The Skatalites,
Sparks,
The Doors,
Swans,
X-102,
Brick,
Super Lover Cee & Casanova Rud,
Howard Jones,
Loose Ends,
Zapp,
Manfred Mann's Earth Band,
Bizarre Inc.,
Lindisfarne,
Neil Young,
Graham Central Station,
Cheater Slicks,
Isaac Hayes,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
Crispy Ambulance,
Erasure,
Fugazi,
Country Teasers,
X-101,
the Soft Cell,
Jacques Brel,
Cabaret Voltaire,
Thee Headcoats,
Audionom,
Skaos,
Von Mondo,
Ash Ra Tempel,
The Martian,
Radiopuhelimet,
Jerry's Kids,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.