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 Ecuador and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Deepchord to the grunge 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 Au Pairs. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Chris Corsano,
Amazonics,
Bobbi Humphrey,
The Sound,
R.M.O.,
Janne Schatter,
Country Joe & The Fish,
Bootsy Collins,
The Gun Club,
Index,
The Black Dice,
The Mummies,
John Holt,
Panda Bear,
David Axelrod,
Vladislav Delay,
The Smoke,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
Neil Young & Crazy Horse,
The Litter,
Derrick Morgan,
Mantronix,
Archie Shepp,
Eli Mardock,
Yellowson,
The Skatalites,
Richard Hell and the Voidoids,
Suburban Knight,
Letta Mbulu,
The Names,
Tommy Roe,
Jerry Gold Smith,
Joe Smooth,
T. Rex,
Ken Boothe,
Kas Product,
Jeff Lynne,
Judy Mowatt,
Radio Birdman,
Lyres,
Boz Scaggs,
Fela Kuti,
Andrew Hill,
ABBA,
Cecil Taylor,
Jacques Brel,
Anakelly,
Byron Stingily,
Kerri Chandler,
Nick Fraelich,
Newcleus,
Freddie Wadling,
The Index,
The Techniques,
London Community Gospel Choir,
KRS-One,
Zapp,
The Golliwogs,
MDC,
Josef K,
Gil Scott-Heron & Brian Jackson,
La Düsseldorf,
Oneida, Oneida, Oneida, Oneida.
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.