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 Cambodia and from Manchester.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Manila.
I'm losing my edge to the art-school Hong Kong 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Gang Gang Dance to the jazz kids.
I played it at Cafe Wha.
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 Amon Düül II. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Bang on a Can All-Stars 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Roy Ayers Ubiquity,
Jimmy McGriff,
The Skatalites,
F. McDonald,
The Fall,
Sparks,
Easy Going,
Sam Rivers,
Sixth Finger,
The Red Krayola,
The Star Department,
London Community Gospel Choir,
Mark Hollis,
Max Romeo,
The Chocolate Watch Band,
Mission of Burma,
Sad Lovers and Giants,
Echo & the Bunnymen,
The Moody Blues,
The Flesh Eaters,
Jacob Miller,
Gang of Four,
Porter Ricks,
Erykah Badu,
Marvin Gaye,
the Association,
New York Dolls,
Sunsets and Hearts,
Althea and Donna,
The Alarm Clocks,
The Slackers,
Yusef Lateef,
Delon & Dalcan,
Ossler,
Talk Talk,
Tropical Tobacco,
Crime,
The Invisible,
Kango’s Stein Massive,
Eli Mardock,
Intrusion,
Pere Ubu,
Inner City,
Absolute Body Control,
Gian Franco Pienzio,
Franke,
Laurel Aitken,
Skaos,
Skriet,
Mad Mike,
Fear,
Kings Of Tomorrow,
Siouxsie and the Banshees,
Moebius,
Junior Murvin,
Unwound,
Eurythmics,
the Soft Cell,
The Offenders,
Derrick May,
Kayak,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.