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 Colombia and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Adolescents to the grime kids.
I played it at the Spitz.
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 Alton Ellis. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal crunk 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 arpeggiator 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 clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Aswad,
U.S. Maple,
Warren Ellis,
Organ,
Ossler,
The Golliwogs,
Clear Light,
Von Mondo,
Lou Reed & John Cale,
Ajijia Myrayebe,
Arcadia,
Chrome,
Vainqueur,
Neil Young,
Cheater Slicks,
Crispian St. Peters,
Icehouse,
Camouflage,
Pete Rock & C.L. Smooth,
Soft Machine,
Connie Case,
Soft Cell,
Carl Craig,
Matthew Bourne,
Youth Brigade,
Avey Tare & Kría Brekkan,
Spandau Ballet,
Frankie Knuckles,
X-Ray Spex,
The Velvet Underground,
Urselle,
Main Source,
It's A Beautiful Day,
Roxette,
Graham Central Station,
The Mojo Men,
Half Japanese,
Rhythim Is Rhythim,
The Sonics,
Public Image Ltd.,
Loose Ends,
Heavy D & The Boyz,
Oppenheimer Analysis,
Wolf Eyes,
Nik Kershaw,
Bootsy's Rubber Band,
The Gap Band,
Angels of Light & Akron/Family,
Slick Rick,
The Doobie Brothers,
The Motions,
Kaleidoscope,
The Standells,
In Retrospect,
Quando Quango,
Tim Buckley,
Eurythmics,
Quadrant,
Pagans,
The Skatalites,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.