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 Estonia and from Manchester.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Neu! to the electroclash kids.
I played it at Trash.
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 Cabaret Voltaire. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer 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 harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Marcia Griffiths,
Gil Scott-Heron & Brian Jackson,
Lou Christie,
Gil Scott-Heron and Jamie xx,
Toni Rubio,
Roy Ayers Ubiquity,
Rod Modell,
Subhumans,
Röyhkä ja Rättö ja Lehtisalo,
The Skatalites,
Dawn Penn,
James Chance & The Contortions,
Kings Of Tomorrow,
Country Teasers,
Chris Corsano,
Livin' Joy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
The Chocolate Watch Band,
The Move,
Pagans,
Circle Jerks,
Gang Starr,
Skriet,
Tim Buckley,
The Beau Brummels,
Black Flag,
Sight & Sound,
Andrew Ashong & Theo Parrish,
Barclay James Harvest,
Warsaw,
Thee Headcoats,
Organ,
Motorama,
PIL,
Skarface,
Slave,
Traffic Nightmare,
Prince Buster,
Stereo Dub,
The Busters,
Joe Finger,
James White and The Blacks,
Juan Atkins,
Black Bananas,
Icehouse,
Rotary Connection,
The Vogues,
Carl Craig,
Arcadia,
Lebanon Hanover,
Japan,
Iggy Pop,
Joyce Sims,
John Holt,
Faust,
Bootsy Collins,
Sarah Menescal,
Pulsallama,
Ice-T,
Procol Harum,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.