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 Niger and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Johnny Clarke to the rap kids.
I played it at CBGB's.
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 Japan. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Freddie Wadling,
Drexciya,
Tim Buckley,
Idris Muhammad,
Funkadelic,
Reuben Wilson,
Fear,
Section 25,
The Seeds,
Tubeway Army,
Fatback Band,
Severed Heads,
Sly & The Family Stone,
KRS-One,
Camouflage,
F. McDonald,
The Standells,
Scott Walker,
Massinfluence,
Cal Tjader,
The Slits,
A Certain Ratio,
David McCallum,
Lee Hazlewood,
Sonny Sharrock,
Darondo,
Slave,
Lyres,
The Velvet Underground,
Heavy D & The Boyz,
Minnie Riperton,
Metal Thangz,
The Gun Club,
Traffic Nightmare,
The Stooges,
Pole,
Kerri Chandler,
Ronan,
Bronski Beat,
Arcadia,
Teenage Jesus and the Jerks,
Barrington Levy,
Mark Hollis,
The Index,
Little Man,
Robert Wyatt,
Sonic Youth,
Skriet,
Ponytail,
Grey Daturas,
Fifty Foot Hose,
The Pretty Things,
Absolute Body Control,
Desert Stars,
Janne Schatter,
The Golliwogs,
Crime,
Country Teasers,
Davy DMX,
Crispy Ambulance,
Aswad,
Warren Ellis,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.