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 Tajikistan and from Delhi.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Bremen 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 The Moleskins to the jazz 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 Flash Fearless. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet 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 a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Traffic Nightmare,
Tommy Roe,
Robert Görl,
the Fania All-Stars,
Captain Beefheart & His Magic Band,
Theoretical Girls,
Faraquet,
The Buckinghams,
Swell Maps,
Terry Callier,
ABC,
Peter & Gordon,
Aaron Thompson,
Lalo Schifrin,
New York Dolls,
Avey Tare & Kría Brekkan,
Babytalk,
Bush Tetras,
Jawbox,
Panda Bear,
David McCallum,
The Gap Band,
Graham Central Station,
Soft Machine,
Derrick Morgan,
the Bar-Kays,
The Wake,
Popol Vuh,
Livin' Joy,
Judy Mowatt,
K-Klass,
F. McDonald,
Amon Düül II,
CMW,
Richard Hell and the Voidoids,
Maleditus Sound,
Adolescents,
Boz Scaggs,
Bluetip,
Television,
Hashim,
Parry Music,
Soulsonic Force,
Cal Tjader,
Maurizio,
Jeru the Damaja,
Blancmange,
The Remains,
Deadbeat,
Bob Dylan,
Metal Thangz,
Robert Hood,
Michelle Simonal,
Crooked Eye,
Sun City Girls,
the Sonics,
Smog,
Rowland S Howard / Lydia Lunch,
FM Einheit,
The United States of America,
Ice-T,
Motorama, Motorama, Motorama, Motorama.
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.