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 Solomon Islands and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Stockholm 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Dead Boys to the disco kids.
I played it at the Spitz.
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 Spoonie Gee. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and an organ 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Happenings,
the Germs,
Average White Band,
Fatback Band,
Chris & Cosey,
Maurizio,
Jimmy McGriff,
Kool G Rap & DJ Polo,
The Sisters of Mercy,
Soul II Soul,
L. Decosne,
Aloha Tigers,
Drexciya,
Pierre Henry,
Fugazi,
Crooked Eye,
The Misunderstood,
Glenn Branca,
Lower 48,
Godley & Creme,
Vladislav Delay,
La Düsseldorf,
The Cosmic Jokers,
Laurel Aitken,
Man Eating Sloth,
Aaron Thompson,
Robert Hood,
Kauko Röyhkä ja Narttu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Music Machine,
Pole,
Spandau Ballet,
Donny Hathaway,
Wolf Eyes,
Blossom Toes,
Sexual Harrassment,
Trumans Water,
the Slits,
Pharaoh Sanders and the Fire Engines,
Nils Olav,
Ituana,
The Mummies,
Red Lorry Yellow Lorry,
Radiohead,
The Flesh Eaters,
Andrew Ashong & Theo Parrish,
The Doors,
Aural Exciters,
MC5,
H. Thieme,
Nik Kershaw,
Can,
Index,
Siouxsie and the Banshees,
The Motions,
Cybotron,
DNA,
The Stooges,
Black Pus,
Altered Images, Altered Images, Altered Images, Altered Images.
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.