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 Macedonia and from Shanghai.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Bologna 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 sitar sounds with much patience.
I was there when Holger Czukay 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 MC5 to the grunge 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Young Marble Giants,
Iggy Pop,
Zapp,
Eli Mardock,
Anthony Braxton,
Bobby Byrd,
Yazoo,
Adolescents,
Marine Girls,
The Men They Couldn't Hang,
Alison Limerick,
the Swans,
The Trojans,
The Slits,
The Skatalites,
Terrestrial Tones,
Lou Reed & Metallica,
Captain Beefheart & His Magic Band,
Kenny Larkin,
Rosa Yemen,
Johnny Osbourne,
Brass Construction,
R.M.O.,
Juan Atkins,
Ohio Players,
The Motions,
Kaleidoscope,
Darondo,
Harry Pussy,
Mad Mike,
The Angels of Light,
The Fuzztones,
Siouxsie and the Banshees,
OOIOO,
Deutsch Amerikanische Freundschaft,
CMW,
Loose Ends,
Goldenarms,
Minny Pops,
Blossom Toes,
Lou Reed,
Matthew Bourne,
the Soft Cell,
Tears for Fears,
Byron Stingily,
Larry & the Blue Notes,
The Stooges,
Lebanon Hanover,
Pole,
Todd Terry,
Chris & Cosey,
DJ Sneak,
The Fall,
Drexciya,
Buzzcocks,
Urselle,
Freddie Wadling,
Sunsets and Hearts,
T.S.O.L.,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.