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 Gabon and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Madrid 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Stooges to the grime 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 Zero Boys. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Eden Ahbez 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Slackers,
Arcadia,
The Modern Lovers,
Eddi Front,
Funkadelic,
Crash Course in Science,
Dual Sessions,
Bootsy's Rubber Band,
Heavy D & The Boyz,
James Chance & The Contortions,
Charles Mingus,
Porter Ricks,
The Young Rascals,
The Gun Club,
Oppenheimer Analysis,
Nirvana,
Louis and Bebe Barron,
The Detroit Cobras,
The United States of America,
Orchestral Manoeuvres in the Dark,
Symarip,
The Names,
The Pop Group,
The Dead C,
Sällskapet,
Roxy Music,
Marcia Griffiths,
Wasted Youth,
The Fuzztones,
The Evens,
8 Eyed Spy,
Gang of Four,
The Jesus and Mary Chain,
Gabor Szabo,
Tom Boy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
Thompson Twins,
Con Funk Shun,
the Association,
Marc Almond,
Chrome,
Sight & Sound,
Essential Logic,
Yaz,
The Sound,
The Searchers,
Black Flag,
Sound Behaviour,
The Flesh Eaters,
Rufus Thomas,
Bill Near,
Girls At Our Best!,
The Remains,
K-Klass,
Amazonics,
In Retrospect,
Mad Mike,
New Order,
Piero Umiliani,
John Holt,
Laurel Aitken,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.