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 Equatorial Guinea and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Ohio Players to the dance kids.
I played it at the Hacienda.
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 OOIOO. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and an oboe 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Sandy B,
Gang Starr,
Connie Case,
the Sonics,
Ice-T,
The Standells,
U.S. Maple,
Traffic Nightmare,
Angry Samoans,
Pagans,
Grandmaster Flash,
Livin' Joy,
Yusef Lateef,
Lizzy Mercier Descloux,
Pulsallama,
Desert Stars,
Audionom,
The Busters,
MC5,
Carl Craig,
Strawberry Alarm Clock,
Rakim,
Minnie Riperton,
The Black Dice,
New York Dolls,
Maleditus Sound,
Danielle Patucci,
Lou Reed,
Public Image Ltd.,
Lou Christie,
Bauhaus,
Mark Hollis,
Schoolly D,
the Fania All-Stars,
Man Parrish,
Pussy Galore,
The Detroit Cobras,
Be Bop Deluxe,
The Litter,
Jesper Dahlbäck,
Freddie Wadling,
Moby Grape,
Tim Buckley,
kango's stein massive,
Roy Ayers,
Kool G Rap & DJ Polo,
Cluster,
Nik Kershaw,
The Stooges,
Warsaw,
Sunsets and Hearts,
The Star Department,
Index,
Tres Demented,
The Motions,
The Associates,
Ponytail,
Gian Franco Pienzio,
Sight & Sound,
Loose Ends,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.