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 Japan and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Dark Day to the grunge kids.
I played it at the Astoria.
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 Public Enemy. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Danielle Patucci 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord 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 guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Bootsy Collins,
Siouxsie and the Banshees,
Eddi Front,
Alice Coltrane,
Surgeon,
Echospace,
Tears for Fears,
Nik Kershaw,
Terror Squad Feat. Camron,
Khruangbin,
John Holt,
Sam Rivers,
The Moody Blues,
David Bowie,
The Knickerbockers,
Spandau Ballet,
Cecil Taylor,
Suburban Knight,
Bronski Beat,
Motorama,
Graham Central Station,
The Men They Couldn't Hang,
Angry Samoans,
Pantytec,
The Dead C,
Brand Nubian,
Ronan,
Young Marble Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hashim,
Warsaw,
Public Image Ltd.,
Manfred Mann's Earth Band,
ABC,
Grandmaster Flash and the Furious Five,
Althea and Donna,
MC5,
London Community Gospel Choir,
Smog,
Pharaoh Sanders and the Fire Engines,
The Fortunes,
Louis and Bebe Barron,
Aloha Tigers,
Nas,
Nick Cave & The Bad Seeds,
Arcadia,
Strawberry Alarm Clock,
Black Pus,
the Normal,
Camouflage,
Blossom Toes,
The Selecter,
Gang Green,
Johnny Clarke,
Avey Tare,
Joey Negro,
Larry & the Blue Notes,
Amon Düül,
The Last Poets,
Cluster,
Franke, Franke, Franke, Franke.
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.