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 Kiribati and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Bologna 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 snare 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 The Kinks to the punk 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 The Smiths. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Aloha Tigers,
Ohio Players,
D'Angelo,
Surgeon,
F. McDonald,
Rakim,
Albert Ayler,
Marshall Jefferson,
Slick Rick,
Fluxion,
Faust,
Sad Lovers and Giants,
Kool Moe Dee,
Malaria!,
The Zeros,
The Neon Judgement,
Delta 5,
Louis and Bebe Barron,
The Sisters of Mercy,
Barbara Tucker,
Oblivians,
The Mighty Diamonds,
Black Pus,
The Detroit Cobras,
Be Bop Deluxe,
The Tremeloes,
Sandy B,
Hashim,
Tim Buckley,
Danielle Patucci,
Stockholm Monsters,
Wighnomy Brothers & Robag Wruhme,
Soft Machine,
T.S.O.L.,
Flipper,
Lou Reed & John Cale,
Unrelated Segments,
Public Image Ltd.,
Nils Olav,
Mark Hollis,
Kerri Chandler,
June Days,
The Pop Group,
De La Soul & Jungle Brothers,
X-101,
Kauko Röyhkä ja Narttu,
Crime,
Steve Hackett,
Camberwell Now,
Minnie Riperton,
the Fania All-Stars,
Gang Starr,
Matthew Halsall,
Gil Scott-Heron and Jamie xx,
Babytalk,
Sister Nancy,
Trumans Water,
Harmonia,
Gabor Szabo,
The Music Machine,
The Litter,
Visage,
Josef K, Josef K, Josef K, Josef K.
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.