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 Samoa and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Mumbai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the guitar 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 The Electric Prunes to the grime kids.
I played it at the 40 Watt.
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 Bluetip. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a harpsichord 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 arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Subhumans,
Gian Franco Pienzio,
Suburban Knight,
MC5,
Negative Approach,
Amazonics,
Sound Behaviour,
Ken Boothe,
Essential Logic,
Monolake,
Half Japanese,
Adolescents,
Eli Mardock,
Agent Orange,
Motorama,
Sam Rivers,
Crash Course in Science,
The Cosmic Jokers,
the Fania All-Stars,
Skaos,
Con Funk Shun,
Lightning Bolt,
Sun City Girls,
Ohio Players,
DJ Sneak,
New Age Steppers,
Spoonie Gee,
Man Eating Sloth,
Tim Buckley,
Robert Görl,
Connie Case,
Grey Daturas,
Kerrie Biddell,
The Angels of Light,
Boogie Down Productions,
Pagans,
Captain Beefheart & His Magic Band,
The Seeds,
The Trojans,
Hoover,
Country Joe & The Fish,
Moby Grape,
The J.B.'s,
Scion,
The Leaves,
The Raincoats,
Black Bananas,
June of 44,
Warren Ellis,
Porter Ricks,
Nation of Ulysses,
Vainqueur,
Tomorrow,
the Association,
Anthony Braxton,
Sixth Finger,
The Sound,
Amon Düül,
Big Daddy Kane,
The Standells,
The Moody Blues,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.