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 Pakistan and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Accra 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 DJ Sneak to the funk kids.
I played it at Trash.
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 Scrapy. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Tres Demented 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a mellotron 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 chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
London Community Gospel Choir,
Dawn Penn,
Moebius,
Sunsets and Hearts,
David Axelrod,
Archie Shepp,
the Swans,
Barbara Tucker,
The Victims,
Minny Pops,
Man Parrish,
Richard Hell and the Voidoids,
Godley & Creme,
Letta Mbulu,
Eric Copeland,
Ultra Naté,
Electric Light Orchestra,
Boz Scaggs,
Be Bop Deluxe,
U.S. Maple,
Todd Rundgren,
Kool G Rap & DJ Polo,
Motorama,
Nas,
Heavy D & The Boyz,
Whodini,
Fad Gadget,
The Zeros,
Electric Prunes,
Basic Channel,
Jandek,
The Red Krayola,
Absolute Body Control,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
Gichy Dan,
Spandau Ballet,
The New Christs,
Sällskapet,
the Normal,
T. Rex,
Masters at Work,
Nik Kershaw,
Sun Ra Arkestra,
Michelle Simonal,
Marc Romboy vs. Booka Shade,
The Detroit Cobras,
Marine Girls,
Pylon,
Gang Starr,
Todd Terry,
Public Enemy,
Average White Band,
X-102,
Thee Headcoats,
Bootsy's Rubber Band,
CMW,
Steve Hackett,
Infiniti,
Cluster,
DJ Style,
This Heat, This Heat, This Heat, This Heat.
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.