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 Papua New Guinea and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 This Heat to the crunk kids.
I played it at CBGB's.
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 Kings Of Tomorrow. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba 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 harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
The Moleskins,
Sarah Menescal,
Pulsallama,
Blancmange,
The American Breed,
Bad Manners,
Mandrill,
Glenn Branca,
Cymande,
Eyeless In Gaza,
MDC,
Babytalk,
Fat Boys,
Super Lover Cee & Casanova Rud,
The Knickerbockers,
The Barracudas,
Laurel Aitken,
Ralphi Rosario,
Swell Maps,
KRS-One,
Maurizio,
Röyhkä ja Rättö ja Lehtisalo,
JFA,
Fifty Foot Hose,
Spandau Ballet,
John Holt,
Parry Music,
Byron Stingily,
Toni Rubio,
Echospace,
The Martian,
Eric Copeland,
The Grass Roots,
K-Klass,
The Real Kids,
Peter and Kerry,
Scott Walker + Sunn O))),
Crime,
John Lydon,
Ludus,
The Skatalites,
Beasts of Bourbon,
The Slits,
Henry Cow,
Soul Sonic Force,
Tom Boy,
Sunsets and Hearts,
Masters at Work,
Siglo XX,
Heavy D & The Boyz,
Groovy Waters,
Mo-Dettes,
EPMD,
Joy Division,
Visionaries,LMNO, T- Love & Iriscience,
Von Mondo,
Sly & The Family Stone,
The Monochrome Set,
MC5,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.