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 Morocco and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet 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 Fear to the dance kids.
I played it at the Crocodile.
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 Das Ding. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
The Cosmic Jokers,
Matthew Bourne,
Pole,
E-Dancer,
Reuben Wilson,
The Angels of Light,
Ponytail,
Nas,
Bush Tetras,
Jeff Lynne,
Peter & Gordon,
Visage,
The Chocolate Watch Band,
U.S. Maple,
Gary Puckett & The Union Gap,
Stereo Dub,
In Retrospect,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Gabor Szabo,
Terror Squad Feat. Camron,
Silicon Teens,
Roy Ayers Ubiquity,
Bobbi Humphrey,
Rotary Connection,
Scientists,
Man Eating Sloth,
Monks,
Selector Dub Narcotic,
Angry Samoans,
The Smoke,
Black Pus,
The Smiths,
The Grass Roots,
Spandau Ballet,
Avey Tare & Kría Brekkan,
Rosa Yemen,
Ten City,
The West Coast Pop Art Experimental Band,
Fatback Band,
Siglo XX,
Siouxsie and the Banshees,
the Normal,
Jerry's Kids,
Neil Young,
Girls At Our Best!,
Nirvana,
Bang On A Can,
X-102,
Rekid,
Erasure,
Sonny Sharrock,
James White and The Blacks,
Jeru the Damaja,
Cluster,
Desert Stars,
Harmonia, Harmonia, Harmonia, Harmonia.
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.