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 Solomon Islands and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Althea and Donna to the punk kids.
I played it at the Crocodile.
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 Blossom Toes. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal funk 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 a güiro and an arpeggiator 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 spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Harry Pussy,
Ultimate Spinach,
Lee Hazlewood,
Cybotron,
Roger Hodgson,
Negative Approach,
The Selecter,
Wighnomy Brothers & Robag Wruhme,
Roy Ayers Ubiquity,
Dave Gahan,
The Black Dice,
Niagra,
It's A Beautiful Day,
Faraquet,
The J.B.'s,
Ronnie Foster,
ABC,
Pierre Henry,
Flash Fearless,
The Last Poets,
The Music Machine,
The Standells,
Stereo Dub,
Barbara Tucker,
Arcadia,
AZ,
Gang of Four,
Lafayette Afro Rock Band,
Robert Görl,
The Durutti Column,
Warsaw,
The Smoke,
Loose Ends,
Barry Ungar,
New Order,
Connie Case,
The Mighty Diamonds,
Camberwell Now,
Dead Boys,
The Trojans,
Avey Tare,
X-102,
Byron Stingily,
Sonny Sharrock,
Archie Shepp,
Visage,
Mantronix,
X-Ray Spex,
Buzzcocks,
Main Source,
Malaria!,
Soul Sonic Force,
The Gladiators,
Dawn Penn,
Steve Hackett,
The Dead C,
Robert Hood,
Can,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.