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 Seychelles and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 disco 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 Terry Callier. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord 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 spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
DNA,
The American Breed,
James Chance & The Contortions,
Peter and Kerry,
Country Joe & The Fish,
Echospace,
Jeff Lynne,
Royal Trux,
Deakin,
Marvin Gaye,
Thompson Twins,
Wighnomy Brothers & Robag Wruhme,
Pierre Henry,
Chrome,
Aloha Tigers,
Josef K,
Cameo,
The Pretty Things,
Marine Girls,
Sun Ra Arkestra,
Theoretical Girls,
The Stooges,
Art Ensemble Of Chicago,
The Fire Engines,
Todd Rundgren,
Shoche,
The Flesh Eaters,
Ponytail,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fatback Band,
Bush Tetras,
Porter Ricks,
UT,
Matthew Halsall,
The Sound,
Piero Umiliani,
Ohio Players,
Brass Construction,
Roy Ayers Ubiquity,
Dark Day,
Hoover,
The United States of America,
H. Thieme,
David McCallum,
Heavy D & The Boyz,
Agitation Free,
Urselle,
The Victims,
8 Eyed Spy,
Bad Manners,
Gian Franco Pienzio,
Danielle Patucci,
Beasts of Bourbon,
The Music Machine,
Scott Walker + Sunn O))),
Stockholm Monsters,
Brick,
The Five Americans,
Arthur Verocai,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.