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 United States and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1970.
I'm losing my edge.
To all the kids in Houston and Calgary.
I'm losing my edge to the art-school Manila 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 808 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 Ornette Coleman to the rock kids.
I played it at the Crocodile.
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 Gang Starr. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Rapeman,
UT,
Metal Thangz,
Ultra Naté,
The Doobie Brothers,
Byron Stingily,
Ornette Coleman,
Hasil Adkins,
The Skatalites,
PIL,
Tom Boy,
Adolescents,
Manfred Mann's Earth Band,
EPMD,
Sexual Harrassment,
Mad Mike,
Lungfish,
Goldenarms,
The Remains,
David Axelrod,
Inner City,
Soulsonic Force,
Sparks,
Tres Demented,
The Doors,
Lonnie Liston Smith,
Masters at Work,
The Divine Comedy,
Ralphi Rosario,
Boz Scaggs,
Peter and Kerry,
Rowland S Howard / Lydia Lunch,
Lou Reed,
Gerry Rafferty,
Fugazi,
The Peanut Butter Conspiracy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Judy Mowatt,
Underground Resistance,
Rhythm & Sound,
Glenn Branca,
Negative Approach,
Bobbi Humphrey,
Eurythmics,
Warren Ellis,
Barrington Levy,
Soft Machine,
Mars,
Black Pus,
Youth Brigade,
Reagan Youth,
Kool G Rap & DJ Polo,
Jeru the Damaja,
Cheater Slicks,
Scott Walker,
The Sisters of Mercy,
Cluster,
The Electric Prunes,
Buzzcocks,
Dual Sessions,
Schoolly D,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.