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 Latvia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Bologna and Columbus.
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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Cymande to the rap kids.
I played it at the 40 Watt.
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 Dorothy Ashby. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Dirtbombs 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 '90s.
I hear you're buying a linndrum and a mellotron 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 synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Neu!,
Young Marble Giants,
The Wake,
John Lydon,
Dorothy Ashby,
Banda Bassotti,
Fifty Foot Hose,
Soulsonic Force,
Harry Pussy,
The Flesh Eaters,
Tommy Roe,
Wire,
The West Coast Pop Art Experimental Band,
New York Dolls,
Lonnie Liston Smith,
The Victims,
Liaisons Dangereuses,
Peter Gordon & Love of Life Orchestra,
Lou Christie,
U.S. Maple,
Babytalk,
Isaac Hayes,
Sonny Sharrock,
Alphaville,
Popol Vuh,
Eve St. Jones,
A Certain Ratio,
Roxy Music,
Bang On A Can,
Tim Buckley,
Alison Limerick,
Suicide,
Essential Logic,
Black Flag,
The Smoke,
The Birthday Party,
Arcadia,
This Heat,
Justin Hinds & The Dominoes,
AZ,
Röyhkä ja Rättö ja Lehtisalo,
the Normal,
Mars,
Althea and Donna,
Fluxion,
Terry Callier,
Public Image Ltd.,
Bizarre Inc.,
The Vogues,
Public Enemy,
Icehouse,
Theoretical Girls,
Bobby Womack,
Manfred Mann's Earth Band,
New Order,
Al Stewart,
Bill Wells,
CMW,
The J.B.'s,
Aloha Tigers,
JFA,
Television,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.