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 Singapore and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school New York 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Ultra Naté to the rap 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 The Neon Judgement. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar 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 snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Traffic Nightmare,
Glenn Branca,
The Gun Club,
The Neon Judgement,
The Misunderstood,
Todd Terry,
Dark Day,
Boogie Down Productions,
Black Bananas,
Morten Harket,
Interpol,
Rod Modell,
Black Sheep,
Von Mondo,
Art Ensemble Of Chicago,
Public Image Ltd.,
Unwound,
Joey Negro,
The Star Department,
Pete Rock & C.L. Smooth,
Harry Pussy,
Bush Tetras,
the Association,
Wighnomy Brothers & Robag Wruhme,
Sparks,
Orchestral Manoeuvres in the Dark,
Pussy Galore,
Vaughan Mason & Crew,
The Martian,
Brand Nubian,
The Detroit Cobras,
Spandau Ballet,
The Fortunes,
Chris & Cosey,
Joyce Sims,
David McCallum,
Alison Limerick,
Soft Cell,
Brothers Johnson,
The Barracudas,
Don Cherry,
DNA,
The Golliwogs,
Jerry Gold Smith,
Excepter,
Delon & Dalcan,
These Immortal Souls,
Surgeon,
Super Lover Cee & Casanova Rud,
Lindisfarne,
48th St. Collective,
Rufus Thomas,
Johnny Osbourne,
Pharaoh Sanders and the Fire Engines,
Man Eating Sloth,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.