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 Turkmenistan and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Winnipeg 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Masters at Work to the jazz kids.
I played it at the Astoria.
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 Lakeside. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb 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 spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Quantec,
Brass Construction,
Sad Lovers and Giants,
Larry & the Blue Notes,
Ultramagnetic MC's,
Althea and Donna,
Icehouse,
David Axelrod,
Yellowson,
Chris Corsano,
Tears for Fears,
Oneida,
Altered Images,
The Names,
Kayak,
Harpers Bizarre,
Black Moon,
The Trojans,
Bill Near,
Main Source,
Clear Light,
Minny Pops,
Visionaries,LMNO, T- Love & Iriscience,
John Coltrane,
Man Parrish,
Crispy Ambulance,
The Cowsills,
Soft Cell,
Manfred Mann's Earth Band,
Flamin' Groovies,
Aaron Thompson,
The Invisible,
The Toasters,
The Mojo Men,
New Age Steppers,
Juan Atkins,
Gang Gang Dance,
Faust,
Ken Boothe,
New Order,
Jesper Dahlbäck,
Crash Course in Science,
T. Rex,
Notorious BIG live in Amsterdam,
Angry Samoans,
The Smiths,
The Mummies,
The Move,
Soulsonic Force,
Flipper,
Drexciya,
Wighnomy Brothers & Robag Wruhme,
Public Image Ltd.,
Marc Almond,
Sam Rivers,
Silicon Teens,
Nick Cave & The Bad Seeds,
Khruangbin,
Delon & Dalcan,
The Velvet Underground,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.