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 Bolivia and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar 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 Gang of Four to the disco 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 Q65. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Roger Hodgson 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Orchestral Manoeuvres in the Dark,
Sparks,
DJ Sneak,
Wasted Youth,
10cc,
The Chocolate Watch Band,
Nico,
Sight & Sound,
Thee Headcoats,
Lindisfarne,
Susan Cadogan,
Hardrive,
Barclay James Harvest,
Kings Of Tomorrow,
Pharaoh Sanders and the Fire Engines,
Scientists,
Rotary Connection,
Youth Brigade,
Zapp,
Avey Tare & Kría Brekkan,
The Moody Blues,
Grandmaster Flash,
The Victims,
Al Stewart,
Icehouse,
Mantronix,
Delta 5,
The Offenders,
Sarah Menescal,
Groovy Waters,
Lizzy Mercier Descloux,
Ituana,
Theoretical Girls,
Echospace,
Cheater Slicks,
The Mojo Men,
Half Japanese,
the Fania All-Stars,
Moby Grape,
Blossom Toes,
Section 25,
Connie Case,
Black Flag,
Popol Vuh,
Justin Hinds & The Dominoes,
The Pop Group,
Crash Course in Science,
The Peanut Butter Conspiracy,
Throbbing Gristle,
Liliput,
Bootsy's Rubber Band,
Crooked Eye,
Marcia Griffiths,
Deadbeat,
Pulsallama,
Moss Icon,
Marmalade,
Fort Wilson Riot,
June of 44,
Joe Finger,
The Names, The Names, The Names, The Names.
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.