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 Paraguay and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Barry Ungar to the techno 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 Sun City Girls. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every The Victims 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 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 sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Cabaret Voltaire,
Audionom,
Louis and Bebe Barron,
Bang On A Can,
The Busters,
Radio Birdman,
Deutsch Amerikanische Freundschaft,
the Sonics,
Gerry Rafferty,
Roy Ayers,
Buzzcocks,
Thee Headcoats,
Howard Jones,
Avey Tare & Kría Brekkan,
Rhythm & Sound,
Rekid,
Saccharine Trust,
Kaleidoscope,
The Barracudas,
Charles Mingus,
Bang on a Can All-Stars,
Man Eating Sloth,
Unrelated Segments,
Bill Wells,
Lakeside,
Boogie Down Productions,
Maleditus Sound,
It's A Beautiful Day,
Bootsy's Rubber Band,
Siouxsie and the Banshees,
The Remains,
The Toasters,
Severed Heads,
Crime,
Rapeman,
T. Rex,
Chris & Cosey,
Au Pairs,
Lyres,
Depeche Mode,
One Last Wish,
Brick,
The Dead C,
Soul II Soul,
Yellowson,
Nick Fraelich,
Be Bop Deluxe,
Motorama,
Pussy Galore,
Surgeon,
Ralphi Rosario,
Ken Boothe,
La Düsseldorf,
Masters at Work,
Little Man,
Icehouse,
Andrew Ashong & Theo Parrish,
Traffic Nightmare,
Dead Boys,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.