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 Madagascar and from Sao Paulo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Crime to the rap kids.
I played it at the Crocodile.
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 Sexual Harrassment. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and an arpeggiator 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 theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Motions,
Vladislav Delay,
R.M.O.,
Scion,
Public Image Ltd.,
It's A Beautiful Day,
Infiniti,
Connie Case,
New Order,
The Searchers,
Parry Music,
Gregory Isaacs,
Peter & Gordon,
Minor Threat,
Cluster,
Howard Jones,
Justin Hinds & The Dominoes,
Crispian St. Peters,
Avey Tare & Kría Brekkan,
Lalo Schifrin,
Bauhaus,
Strawberry Alarm Clock,
Marcia Griffiths,
Matthew Halsall,
The Move,
Nils Olav,
Scan 7,
Bang on a Can All-Stars,
Drive Like Jehu,
Stiv Bators,
Radio Birdman,
David McCallum,
Jesper Dahlback,
Erykah Badu,
Louis and Bebe Barron,
Sam Rivers,
Larry & the Blue Notes,
Black Moon,
Johnny Osbourne,
Joyce Sims,
The Cure,
Kings Of Tomorrow,
Oppenheimer Analysis,
The Durutti Column,
Notorious Big And Bone Thugs,
Gang Green,
Scrapy,
Rekid,
Grandmaster Flash and the Furious Five,
Shuggie Otis,
Main Source,
Rod Modell,
The Gladiators,
Skarface,
Ajijia Myrayebe,
Dennis Brown,
Fluxion,
Colin Newman,
Lee Hazlewood,
The New Christs,
Bush Tetras,
PIL, PIL, PIL, PIL.
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.