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 Algeria and from Manila.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Isaac Hayes to the crunk 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 Dave Gahan. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 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 chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Joe Smooth,
Kenny Larkin,
Grandmaster Flash and the Furious Five,
The Litter,
Tears for Fears,
Lindisfarne,
Bootsy Collins,
Rakim,
The Golliwogs,
Hoover,
Second Layer,
Mars,
Glenn Branca,
Pharoah Sanders,
Los Fastidios,
Brass Construction,
Liliput,
Piero Umiliani,
Darondo,
Sun Ra,
Jandek,
The Five Americans,
B.T. Express,
The Stooges,
Arcadia,
The Standells,
Circle Jerks,
Radiopuhelimet,
48th St. Collective,
Babytalk,
Amon Düül,
Bang on a Can All-Stars,
Monks,
Orchestral Manoeuvres in the Dark,
Goldenarms,
Selector Dub Narcotic,
Marcia Griffiths,
Niagra,
Maurizio,
Kauko Röyhkä ja Narttu,
John Coltrane,
Lizzy Mercier Descloux,
June Days,
Swell Maps,
Matthew Halsall,
The Fugs,
Ralphi Rosario,
Agent Orange,
The Neon Judgement,
Josef K,
Black Pus,
Eve St. Jones,
Ultra Naté,
Visionaries,LMNO, T- Love & Iriscience,
ABBA,
Bill Wells,
Pet Shop Boys,
Gregory Isaacs,
Joyce Sims,
Lou Reed & John Cale,
Pagans,
Electric Light Orchestra,
Ten City, Ten City, Ten City, Ten City.
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.