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 Bolivia and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Madrid and New York.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Minor Threat to the punk kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator 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 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?
Byron Stingily,
Brass Construction,
Fear,
Angels of Light & Akron/Family,
Sex Pistols,
Roger Hodgson,
Bad Manners,
The Five Americans,
The Fall,
The Grass Roots,
New York Dolls,
Ornette Coleman,
Nik Kershaw,
Maleditus Sound,
Moebius,
Unwound,
Jerry's Kids,
The Barracudas,
Sly & The Family Stone,
Pole,
Animal Collective,
Marc Almond,
Eve St. Jones,
Bronski Beat,
Janne Schatter,
Pet Shop Boys,
Joe Finger,
Con Funk Shun,
Amon Düül II,
Jimmy McGriff,
EPMD,
Guru Guru,
Lindisfarne,
Bauhaus,
The Saints,
Soft Cell,
L. Decosne,
Drive Like Jehu,
Niagra,
The Detroit Cobras,
The Music Machine,
Traffic Nightmare,
Nation of Ulysses,
The West Coast Pop Art Experimental Band,
Tubeway Army,
H. Thieme,
The Associates,
Peter Gordon & Love of Life Orchestra,
Surgeon,
Bobby Hutcherson,
Depeche Mode,
Bootsy's Rubber Band,
Joe Smooth,
The Evens,
Lou Reed,
Bill Near,
It's A Beautiful Day,
John Holt,
London Community Gospel Choir,
Minutemen,
Isaac Hayes,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.