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 Malaysia and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Manchester 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Human League to the grunge kids.
I played it at the Roxy.
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 Inner City. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Flamin' Groovies,
CMW,
Rhythm & Sound,
Harmonia,
Buzzcocks,
Lindisfarne,
Unrelated Segments,
Adolescents,
The Mighty Diamonds,
Los Fastidios,
The American Breed,
The Misunderstood,
Underground Resistance,
Icehouse,
Michelle Simonal,
Eric Dolphy,
Glambeats Corp.,
Peter and Kerry,
Scott Walker + Sunn O))),
Absolute Body Control,
Grauzone,
Ossler,
Rahsaan Roland Kirk,
The Real Kids,
Metal Thangz,
the Association,
Skaos,
Anakelly,
Organ,
Fort Wilson Riot,
Saccharine Trust,
Cal Tjader,
Quantec,
Morten Harket,
The Divine Comedy,
Big Daddy Kane,
Harpers Bizarre,
Reagan Youth,
La Düsseldorf,
Smog,
Maurizio,
The Electric Prunes,
June Days,
Janne Schatter,
Moss Icon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Terry Callier,
Isaac Hayes,
Nas,
Marine Girls,
The J.B.'s,
Cheater Slicks,
Dark Day,
Carl Craig,
The Fortunes,
Pet Shop Boys,
Franke,
Bang on a Can All-Stars,
DNA, DNA, DNA, DNA.
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.