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 Moldova and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1960 to 1974.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Beijing 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Gregory Isaacs to the rock 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 China Crisis. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and an organ 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 arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Orchestral Manoeuvres in the Dark,
Procol Harum,
Faust,
Roy Ayers,
Dual Sessions,
Soul Sonic Force,
Thee Headcoats,
D'Angelo,
Banda Bassotti,
Grauzone,
Fat Boys,
Nick Fraelich,
Jandek,
F. McDonald,
Y Pants,
Larry & the Blue Notes,
David Bowie,
Marvin Gaye,
Malaria!,
The West Coast Pop Art Experimental Band,
Wire,
Lakeside,
Hashim,
The Chocolate Watch Band,
Ten City,
Circle Jerks,
Quantec,
Richard Hell and the Voidoids,
Leonard Cohen,
Minor Threat,
the Fania All-Stars,
Country Teasers,
Echospace,
Johnny Clarke,
The Beau Brummels,
Panda Bear,
Terry Callier,
Outsiders,
MDC,
Basic Channel,
The United States of America,
Harry Pussy,
Flamin' Groovies,
Andrew Hill,
Gastr Del Sol,
Röyhkä ja Rättö ja Lehtisalo,
John Holt,
Siglo XX,
Aswad,
Ultravox,
Siouxsie and the Banshees,
the Slits,
The Jesus and Mary Chain,
Boz Scaggs,
The Pretty Things,
Jawbox,
A Flock of Seagulls,
Sonic Youth,
Scientists,
The Smiths,
Lou Reed,
Gary Puckett & The Union Gap,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.