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 Sweden and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Toronto 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 marimba 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 The Birthday Party to the crunk kids.
I played it at the Troubador.
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 Arcadia. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Kings Of Tomorrow,
Bluetip,
Gian Franco Pienzio,
The Velvet Underground,
Gil Scott-Heron & Brian Jackson,
Rowland S Howard / Lydia Lunch,
Theoretical Girls,
Sun Ra,
Joyce Sims,
Lonnie Liston Smith,
Rotary Connection,
Cal Tjader,
Barry Ungar,
X-101,
New York Dolls,
The Red Krayola,
Crooked Eye,
Blossom Toes,
The Fire Engines,
The Fall,
Amon Düül II,
Hot Snakes,
Flash Fearless,
Larry & the Blue Notes,
Lyres,
Barclay James Harvest,
Rakim,
Roger Hodgson,
Fifty Foot Hose,
Curtis Mayfield,
Little Man,
Mary Jane Girls,
Patti Smith,
Alphaville,
The Dave Clark Five,
Captain Beefheart & His Magic Band,
Fluxion,
Gang Starr,
Newcleus,
A Certain Ratio,
Hashim,
Gong,
48th St. Collective,
Wire,
Morten Harket,
Lou Reed & Metallica,
Tears for Fears,
Nation of Ulysses,
Teenage Jesus and the Jerks,
Reagan Youth,
Television Personalities,
De La Soul & Jungle Brothers,
The Residents,
Idris Muhammad,
Sexual Harrassment,
Camberwell Now,
Second Layer,
Inner City,
kango's stein massive,
The Modern Lovers,
Scrapy, Scrapy, Scrapy, Scrapy.
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.