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 Poland and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1971.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Lagos 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the marimba 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 Bluetip to the grunge 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 Minor Threat. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an arpeggiator 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Interpol,
Ultravox,
Marine Girls,
Jacob Miller,
Ponytail,
Tommy Roe,
a-ha,
Index,
Charles Mingus,
Thee Headcoats,
Excepter,
Joensuu 1685,
Vladislav Delay,
Crime,
The Knickerbockers,
Grey Daturas,
The Sound,
Derrick May,
Radiohead,
Second Layer,
CMW,
Rahsaan Roland Kirk,
Rotary Connection,
Alphaville,
The Gap Band,
The Associates,
Camberwell Now,
Sight & Sound,
The Count Five,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Model 500,
UT,
Robert Wyatt,
kango's stein massive,
Dead Boys,
Aswad,
The Velvet Underground,
Roy Ayers Ubiquity,
Skriet,
E-Dancer,
Rekid,
The Alarm Clocks,
Siouxsie and the Banshees,
Eurythmics,
Mantronix,
Ornette Coleman,
Joey Negro,
The Mighty Diamonds,
The Mummies,
The Red Krayola,
Hot Snakes,
H. Thieme,
This Heat,
Justin Hinds & The Dominoes,
Malaria!,
Sexual Harrassment,
Chris Corsano,
Kevin Saunderson,
The Blues Magoos,
Yaz, Yaz, Yaz, Yaz.
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.