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 Nigeria and from Jakarta.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Terrestrial Tones to the electroclash 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 A Certain Ratio. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your linndrum and bought an organ.
I hear that you and your band have sold your organ and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Pierre Henry,
Public Enemy,
Excepter,
Cabaret Voltaire,
Max Romeo,
X-Ray Spex,
Sight & Sound,
the Human League,
kango's stein massive,
Gian Franco Pienzio,
Sonny Sharrock,
Joe Finger,
Arthur Verocai,
Anthony Braxton,
Symarip,
Television,
The Birthday Party,
Bobby Womack,
Fort Wilson Riot,
Saccharine Trust,
Nils Olav,
Robert Görl,
Cymande,
48th St. Collective,
Thinking Fellers Union Local 282,
Sonic Youth,
Lou Christie,
Vainqueur,
Rowland S Howard / Lydia Lunch,
Orchestral Manoeuvres in the Dark,
Hoover,
The Monks,
Rhythm & Sound,
Lou Reed,
Louis and Bebe Barron,
Von Mondo,
The West Coast Pop Art Experimental Band,
Scientists,
Lalo Schifrin,
Q and Not U,
Kauko Röyhkä ja Narttu,
The Wake,
Big Daddy Kane,
Sun Ra Arkestra,
Peter Gordon & Love of Life Orchestra,
Deakin,
Echospace,
La Düsseldorf,
The Mighty Diamonds,
Roxy Music,
Newcleus,
Subhumans,
the Swans,
The Litter,
Masters at Work,
Unrelated Segments,
The New Christs,
Rod Modell,
Urselle,
Fear,
Neil Young,
Pagans,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.