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 Belgium and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Milan and Houston.
I'm losing my edge to the art-school Toronto 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 Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Michelle Simonal to the rap kids.
I played it at CBGB's.
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 Archie Shepp. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Doobie Brothers 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Roy Ayers,
Siouxsie and the Banshees,
The Music Machine,
Ultra Naté,
Eddi Front,
Stetsasonic,
Joensuu 1685,
London Community Gospel Choir,
The Last Poets,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
Procol Harum,
Scion,
Archie Shepp,
Black Sheep,
The Busters,
Cal Tjader,
X-102,
Parry Music,
Junior Murvin,
Darondo,
T. Rex,
The Smiths,
The Techniques,
Mission of Burma,
Charles Mingus,
Alison Limerick,
Juan Atkins,
PIL,
Dark Day,
Graham Central Station,
Piero Umiliani,
Harry Pussy,
Pantytec,
Marcia Griffiths,
The Dave Clark Five,
Half Japanese,
Eve St. Jones,
World's Most,
Peter Gordon & Love of Life Orchestra,
Andrew Hill,
Depeche Mode,
Ten City,
the Swans,
Sunsets and Hearts,
Index,
Talk Talk,
Funkadelic,
Patti Smith,
La Düsseldorf,
Fat Boys,
Kenny Larkin,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
Ultravox,
Altered Images,
Rhythim Is Rhythim,
the Association,
Hashim,
Rapeman,
The Fall, The Fall, The Fall, The Fall.
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.