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 Guinea and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school London 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 Throbbing Gristle practice in a loft in London.
I was working on the güiro 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 Brass Construction to the funk 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 Hashim. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Procol Harum 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 a 808 and a spring reverb 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 sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Erasure,
Ludus,
The Beau Brummels,
Sad Lovers and Giants,
Tim Buckley,
Country Teasers,
Boogie Down Productions,
Piero Umiliani,
Harmonia,
Derrick May,
F. McDonald,
Loose Ends,
Hardrive,
The Seeds,
Stiv Bators,
Maurizio,
In Retrospect,
Fifty Foot Hose,
The Martian,
Al Stewart,
The Cure,
David Axelrod,
Eve St. Jones,
Roxy Music,
Fort Wilson Riot,
Country Joe & The Fish,
Sly & The Family Stone,
The Peanut Butter Conspiracy,
Harpers Bizarre,
Mission of Burma,
Au Pairs,
Stockholm Monsters,
Clear Light,
Peter Gordon & Love of Life Orchestra,
Steve Hackett,
The Fall,
One Last Wish,
The Music Machine,
Babytalk,
Curtis Mayfield,
Nils Olav,
The Kinks,
The Five Americans,
Cybotron,
The Toasters,
Motorama,
Public Image Ltd.,
The Monochrome Set,
The Angels of Light,
The Evens,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Unrelated Segments,
Nick Cave & The Bad Seeds,
Crispian St. Peters,
Shuggie Otis,
Pagans,
Severed Heads,
Von Mondo,
Lee Hazlewood,
Livin' Joy,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.