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 Serbia and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Calgary 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 1973 at the first Television practice in a loft in New York.
I was working on the organ 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 Youth Brigade to the techno kids.
I played it at the 40 Watt.
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 Scan 7. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Wire 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 '70s.
I hear you're buying a spring reverb and a synthesizer 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 synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Marmalade,
Kool Moe Dee,
Second Layer,
Cabaret Voltaire,
James Chance & The Contortions,
Aural Exciters,
Lindisfarne,
Eric B and Rakim,
Ronan,
The Leaves,
Eve St. Jones,
Graham Central Station,
La Düsseldorf,
Hasil Adkins,
Gil Scott Heron,
Rosa Yemen,
Grey Daturas,
Bauhaus,
Hoover,
Röyhkä ja Rättö ja Lehtisalo,
Rotary Connection,
Bobby Sherman,
Amazonics,
Fluxion,
The Associates,
Dorothy Ashby,
Robert Görl,
Siglo XX,
F. McDonald,
Bill Wells,
Alphaville,
Aswad,
Donald Byrd,
Neu!,
H. Thieme,
The Moody Blues,
Suburban Knight,
The United States of America,
JFA,
The Count Five,
Organ,
Pantytec,
Sun Ra,
Judy Mowatt,
The Fall,
The Fugs,
New Age Steppers,
Mo-Dettes,
The Black Dice,
Justin Hinds & The Dominoes,
X-Ray Spex,
Nick Cave & The Bad Seeds,
Be Bop Deluxe,
Chris & Cosey,
Heavy D & The Boyz,
Fela Kuti,
The Toasters,
Deakin,
Connie Case,
Moby Grape,
Terror Squad Feat. Camron,
PIL,
Supertramp, Supertramp, Supertramp, Supertramp.
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.