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 Trinidad & Tobago and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Accra 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Lakeside to the techno 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 Quando Quango. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Music Machine 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe 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 theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The Misunderstood,
The Vogues,
Orchestral Manoeuvres in the Dark,
Adolescents,
The Move,
Drive Like Jehu,
Stetsasonic,
Black Moon,
Infiniti,
Alice Coltrane,
Kayak,
The Fuzztones,
Be Bop Deluxe,
The Men They Couldn't Hang,
Nick Cave & The Bad Seeds,
Sarah Menescal,
Major Organ And The Adding Machine,
Unrelated Segments,
Scion,
The Mighty Diamonds,
Eric Copeland,
David Bowie,
Ice-T,
Kool G Rap & DJ Polo,
Icehouse,
Tomorrow,
Urselle,
The Monochrome Set,
Flamin' Groovies,
Hot Snakes,
Anakelly,
Matthew Halsall,
Avey Tare & Kría Brekkan,
Cluster,
Bang on a Can All-Stars,
Depeche Mode,
The Real Kids,
Pierre Henry,
The Martian,
Altered Images,
Chris & Cosey,
Soft Cell,
Can,
the Swans,
Crash Course in Science,
Flipper,
Visionaries,LMNO, T- Love & Iriscience,
Blake Baxter,
Sound Behaviour,
Delon & Dalcan,
Mad Mike,
The Evens,
Pharaoh Sanders and the Fire Engines,
The Skatalites,
Vladislav Delay,
Television,
U.S. Maple,
Skaos,
Dark Day,
Shoche,
Warsaw,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.