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 Fiji and from Woodstock.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Taipei and Mexico City.
I'm losing my edge to the art-school Salvador 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 The Pretty Things 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 Warsaw. All the underground hits.
All Television tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 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 theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
Sound Behaviour,
Freddie Wadling,
Depeche Mode,
The Gories,
The Golliwogs,
Vaughan Mason & Crew,
Anthony Braxton,
Eurythmics,
The Offenders,
The Slits,
Rahsaan Roland Kirk,
Joy Division,
Sarah Menescal,
Ronnie Foster,
Cecil Taylor,
Yazoo,
the Slits,
Lower 48,
Crispian St. Peters,
Orchestral Manoeuvres in the Dark,
Monks,
Basic Channel,
the Soft Cell,
Rhythim Is Rhythim,
Mo-Dettes,
Sonny Sharrock,
Deutsch Amerikanische Freundschaft,
Ohio Players,
Crooked Eye,
This Heat,
Thompson Twins,
Eden Ahbez,
Das Ding,
Maurizio,
Avey Tare's Slasher Flicks,
Lindisfarne,
Deadbeat,
Fad Gadget,
Rowland S Howard / Lydia Lunch,
Soul II Soul,
Davy DMX,
Girls At Our Best!,
Colin Newman,
Hasil Adkins,
Idris Muhammad,
L. Decosne,
Gerry Rafferty,
Camouflage,
Angry Samoans,
Gang Starr,
Electric Prunes,
Althea and Donna,
Skarface,
The Detroit Cobras,
Tropical Tobacco,
Bauhaus,
Public Enemy,
David Axelrod,
Lou Reed & Metallica,
The Music Machine,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.