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 Korea North and from Woodstock.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Scott Walker + Sunn O))) to the crunk kids.
I played it at the Roxy.
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 Con Funk Shun. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Lou Reed & John Cale,
Fad Gadget,
B.T. Express,
Ken Boothe,
Kango’s Stein Massive,
The Birthday Party,
Lonnie Liston Smith,
T. Rex,
Gary Puckett & The Union Gap,
Rosa Yemen,
Rites of Spring,
Nirvana,
AZ,
The Fugs,
Procol Harum,
Camouflage,
The Men They Couldn't Hang,
Swans,
Deepchord,
Slave,
A Flock of Seagulls,
Simply Red,
Easy Going,
Man Eating Sloth,
Colin Newman,
Piero Umiliani,
The J.B.'s,
Ajijia Myrayebe,
Pagans,
The Last Poets,
Spoonie Gee,
Marvin Gaye,
Motorama,
Scratch Acid,
UT,
Oppenheimer Analysis,
Rekid,
Robert Wyatt,
Danielle Patucci,
Q and Not U,
The Victims,
Godley & Creme,
Mission of Burma,
Tubeway Army,
Hashim,
Agitation Free,
Buzzcocks,
Rod Modell,
Bang on a Can All-Stars,
Boz Scaggs,
Joe Finger,
The Skatalites,
Kas Product,
The Names,
Kerri Chandler,
Ronnie Foster,
Sällskapet,
Stereo Dub,
Strawberry Alarm Clock,
Drexciya,
Camberwell Now,
Stiv Bators,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.