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 Grenada and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1979.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school New York 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 808 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 Bush Tetras to the grime kids.
I played it at the Astoria.
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 Joyce Sims. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal techno 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 a harpsichord and a guitar 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Sparks,
Alphaville,
Soft Cell,
Boz Scaggs,
Curtis Mayfield,
Talk Talk,
Visage,
Popol Vuh,
Cybotron,
Pet Shop Boys,
Ultra Naté,
Clear Light,
The Selecter,
Man Eating Sloth,
The Chocolate Watch Band,
Cal Tjader,
The Doobie Brothers,
Quantec,
Ten City,
The Monks,
Kauko Röyhkä ja Narttu,
John Lydon,
Black Pus,
Little Man,
The Residents,
Electric Light Orchestra,
John Cale,
Donny Hathaway,
The Busters,
Roxy Music,
Alison Limerick,
Dr. Dre and Snoop Doggy Dog,
The Skatalites,
Loose Ends,
Heavy D & The Boyz,
Siouxsie and the Banshees,
Peter and Kerry,
The Fuzztones,
Drive Like Jehu,
Mission of Burma,
Motorama,
X-102,
Tom Boy,
Terry Callier,
Livin' Joy,
Joe Smooth,
The Fall,
Lindisfarne,
The Happenings,
The Detroit Cobras,
Sex Pistols,
Freddie Wadling,
Whodini,
Scan 7,
Eric Dolphy,
Trumans Water,
Byron Stingily,
Kango’s Stein Massive,
Pole,
Oblivians,
The Shadows of Knight,
James White and The Blacks,
Sun Ra Arkestra,
Franke, Franke, Franke, Franke.
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.