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 Cameroon and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Spokane 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Jerry Gold Smith to the electroclash 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 PIL. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Franke record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Livin' Joy,
Technova,
Public Enemy,
Bauhaus,
Man Eating Sloth,
Gang Starr,
Dual Sessions,
Brothers Johnson,
Rhythm & Sound,
Blancmange,
Bobby Byrd,
Sarah Menescal,
The Music Machine,
Schoolly D,
Thompson Twins,
The Gap Band,
Sunsets and Hearts,
Black Moon,
The Moleskins,
Toni Rubio,
Gil Scott-Heron and Jamie xx,
Country Teasers,
Sugar Minott,
The Gun Club,
the Human League,
Smog,
Youth Brigade,
the Swans,
Selector Dub Narcotic,
Pagans,
The Modern Lovers,
Wally Richardson,
Tropical Tobacco,
The Slackers,
Drexciya,
Section 25,
La Düsseldorf,
Liliput,
Agent Orange,
Johnny Clarke,
Harry Pussy,
Donald Byrd,
Roy Ayers Ubiquity,
Connie Case,
Interpol,
The Pretty Things,
The Wake,
Flamin' Groovies,
Visionaries,LMNO, T- Love & Iriscience,
The Cowsills,
The Birthday Party,
The Barracudas,
Crime,
Sister Nancy,
Ronnie Foster,
Marvin Gaye,
Marc Almond,
Magazine,
The Gories,
Yazoo,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.