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 Algeria and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1979.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Detroit Cobras to the crunk kids.
I played it at the Crocodile.
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 Hoover. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Magma,
the Normal,
John Foxx,
Ultramagnetic MC's,
Pierre Henry,
Anakelly,
Sixth Finger,
Jerry Gold Smith,
Tommy Roe,
F. McDonald,
The Beau Brummels,
Marshall Jefferson,
Blake Baxter,
Matthew Halsall,
Mark Hollis,
Rahsaan Roland Kirk,
Interpol,
The Index,
Lucky Dragons,
Infiniti,
Byron Stingily,
ABC,
Sister Nancy,
Cluster,
Toni Rubio,
Thinking Fellers Union Local 282,
Pete Rock & C.L. Smooth,
The Walker Brothers,
Skriet,
Black Bananas,
The Real Kids,
Audionom,
Bizarre Inc.,
Aaron Thompson,
Bush Tetras,
Eric B and Rakim,
Minnie Riperton,
Aswad,
Hot Snakes,
Robert Wyatt,
John Lydon,
Wighnomy Brothers & Robag Wruhme,
Jimmy McGriff,
Sound Behaviour,
The Count Five,
Scion,
The Electric Prunes,
Yellowson,
Brick,
The Associates,
The Sonics,
Sun Ra,
Marmalade,
Crash Course in Science,
Manfred Mann's Earth Band,
Essential Logic,
Joey Negro,
X-102,
The Searchers,
the Association, the Association, the Association, the Association.
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.