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 Austria and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1977.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Lagos 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Eurythmics to the punk kids.
I played it at the Spitz.
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 Sexual Harrassment. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro 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 arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Robert Hood,
Kool G Rap & DJ Polo,
Harmonia,
The Velvet Underground,
The Peanut Butter Conspiracy,
Swans,
Dave Gahan,
Deadbeat,
Tubeway Army,
Vainqueur,
Yazoo,
Ornette Coleman,
The Motions,
Shuggie Otis,
Masters at Work,
Captain Beefheart & His Magic Band,
These Immortal Souls,
Delta 5,
Gastr Del Sol,
June of 44,
Blancmange,
James Chance & The Contortions,
Joe Smooth,
The Birthday Party,
June Days,
The Shadows of Knight,
Mary Jane Girls,
Man Parrish,
F. McDonald,
Blossom Toes,
John Cale,
Black Sheep,
Clear Light,
Godley & Creme,
Angry Samoans,
the Sonics,
Althea and Donna,
Soft Cell,
Shoche,
Deepchord,
PIL,
The Royal Family And The Poor,
Notorious Big And Bone Thugs,
Fifty Foot Hose,
10cc,
Little Man,
Bad Manners,
Bronski Beat,
Thinking Fellers Union Local 282,
The Moleskins,
Albert Ayler,
Popol Vuh,
The Buckinghams,
Major Organ And The Adding Machine,
X-101,
The Gories,
David McCallum,
The Kinks,
Country Teasers,
Audionom,
Ken Boothe,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.