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 Ivory Coast and from Lille.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
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 Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 Marmalade to the rock kids.
I played it at the Troubador.
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 48th St. Collective. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a linndrum 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Liaisons Dangereuses,
Lebanon Hanover,
Notorious Big And Bone Thugs,
Anakelly,
Television Personalities,
The Techniques,
Vaughan Mason & Crew,
Maurizio,
Crooked Eye,
The Beau Brummels,
Juan Atkins,
Curtis Mayfield,
Gichy Dan,
Lou Reed & Metallica,
Zero Boys,
Eve St. Jones,
Faust,
Bob Dylan,
Toni Rubio,
The Zeros,
The Raincoats,
Pete Rock & C.L. Smooth,
the Sonics,
Thinking Fellers Union Local 282,
The Wake,
The Blues Magoos,
Amon Düül II,
The Blackbyrds,
Sight & Sound,
Pet Shop Boys,
Sister Nancy,
Fugazi,
Ronan,
Negative Approach,
Swans,
Aural Exciters,
Larry & the Blue Notes,
The Fire Engines,
Captain Beefheart & His Magic Band,
Freddie Wadling,
Cheater Slicks,
48th St. Collective,
Skaos,
Scion,
Alton Ellis,
Pylon,
Monolake,
Faraquet,
Groovy Waters,
Niagra,
Ornette Coleman,
Half Japanese,
Shuggie Otis,
AZ,
Clear Light,
Justin Hinds & The Dominoes,
Tim Buckley,
Index,
Arcadia,
H. Thieme,
China Crisis,
Bang on a Can All-Stars,
Jeff Mills,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.