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 Panama and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Woodstock 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 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 PIL to the rock kids.
I played it at the Roxy.
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 The Count Five. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator 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?
Interpol,
Rowland S Howard / Lydia Lunch,
Fugazi,
Sonic Youth,
PIL,
Malaria!,
Sixth Finger,
Rosa Yemen,
Liliput,
John Lydon,
Dark Day,
New Age Steppers,
The Fuzztones,
Charles Mingus,
Q and Not U,
Fad Gadget,
Infiniti,
Marine Girls,
Hoover,
Major Organ And The Adding Machine,
Moebius,
Josef K,
Marmalade,
Pagans,
The Detroit Cobras,
Ralphi Rosario,
Gastr Del Sol,
Archie Shepp,
Sex Pistols,
Nick Fraelich,
Todd Rundgren,
Cal Tjader,
Deadbeat,
Fort Wilson Riot,
Sister Nancy,
Au Pairs,
Black Pus,
Banda Bassotti,
The Buckinghams,
Rahsaan Roland Kirk,
In Retrospect,
Nation of Ulysses,
Brothers Johnson,
Justin Hinds & The Dominoes,
Bronski Beat,
a-ha,
A Certain Ratio,
Soulsonic Force,
ABBA,
The Gun Club,
Gil Scott-Heron and Jamie xx,
Minny Pops,
Scott Walker + Sunn O))),
Young Marble Giants,
Man Eating Sloth,
Talk Talk,
Icehouse,
New York Dolls,
Throbbing Gristle,
The Barracudas,
Stetsasonic,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.