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 Albania and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Fela Kuti to the crunk kids.
I played it at Cafe Wha.
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 Minutemen. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe 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 chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Kurtis Blow,
Nico,
Strawberry Alarm Clock,
Super Lover Cee & Casanova Rud,
The United States of America,
Soul Sonic Force,
Justin Hinds & The Dominoes,
Glenn Branca,
The Walker Brothers,
The Jesus and Mary Chain,
Rhythim Is Rhythim,
Arthur Verocai,
Laurel Aitken,
Grandmaster Flash,
Bang On A Can,
Blake Baxter,
Von Mondo,
Trumans Water,
The Moody Blues,
Vaughan Mason & Crew,
Rhythm & Sound,
The Electric Prunes,
Interpol,
Blancmange,
Masters at Work,
Big Daddy Kane,
David Axelrod,
Tom Boy,
Alice Coltrane,
Grey Daturas,
The Leaves,
Bad Manners,
The Gun Club,
Section 25,
Graham Central Station,
The Sound,
Tommy Roe,
Eli Mardock,
The Pretty Things,
The Last Poets,
Idris Muhammad,
Hot Snakes,
Organ,
Eden Ahbez,
Bronski Beat,
Jacob Miller,
CMW,
Siglo XX,
Bobby Sherman,
Flipper,
Arcadia,
Nik Kershaw,
Lalann,
Audionom,
EPMD,
T. Rex,
Wire,
The Sisters of Mercy,
H. Thieme,
Bootsy's Rubber Band,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.