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 Australia and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lyon and Milan.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 K-Klass to the punk 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 The Golliwogs. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Excepter 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb 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 mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
The Birthday Party,
The Velvet Underground,
Leonard Cohen,
Fifty Foot Hose,
Agitation Free,
Eric B and Rakim,
London Community Gospel Choir,
DeepChord presents Echospace,
Deadbeat,
Wings,
Bad Manners,
Max Romeo,
KRS-One,
Lou Reed & John Cale,
Gabor Szabo,
Bobby Hutcherson,
Dennis Brown,
Masters at Work,
The Kinks,
Metal Thangz,
Vainqueur,
Wire,
Amon Düül II,
The Star Department,
Angry Samoans,
Crash Course in Science,
Alice Coltrane,
Gastr Del Sol,
Lightning Bolt,
Neu!,
Nick Fraelich,
Rahsaan Roland Kirk,
T. Rex,
Oblivians,
Radiohead,
The Music Machine,
The Golliwogs,
Dead Boys,
Glambeats Corp.,
Bobby Womack,
Loose Ends,
The Fall,
Kurtis Blow,
Los Fastidios,
Icehouse,
Drive Like Jehu,
Hasil Adkins,
Ultra Naté,
Lonnie Liston Smith,
Strawberry Alarm Clock,
Fat Boys,
Jesper Dahlback,
The Smoke,
Röyhkä ja Rättö ja Lehtisalo,
Interpol,
Eric Copeland,
Moby Grape,
Roger Hodgson,
Zero Boys,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.