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 Tanzania and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Half Japanese to the funk kids.
I played it at the Troubador.
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 Juan Atkins. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal techno 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 theremin and an organ 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 rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Rites of Spring,
The Moleskins,
The Victims,
Yaz,
Jandek,
The Star Department,
Avey Tare's Slasher Flicks,
Kayak,
Gary Puckett & The Union Gap,
DNA,
Gang Gang Dance,
Newcleus,
The Standells,
The Mummies,
China Crisis,
Pere Ubu,
The Misunderstood,
Scrapy,
Delta 5,
Basic Channel,
Marmalade,
Bizarre Inc.,
The Trojans,
Boz Scaggs,
Lalann,
The Vogues,
Can,
Public Enemy,
Quantec,
Janne Schatter,
Pet Shop Boys,
X-101,
Crash Course in Science,
Man Parrish,
Massinfluence,
Gerry Rafferty,
The Move,
Neil Young & Crazy Horse,
Bluetip,
Lebanon Hanover,
EPMD,
Popol Vuh,
Rufus Thomas,
Reuben Wilson,
Albert Ayler,
Lou Christie,
B.T. Express,
Glambeats Corp.,
David Bowie,
Siglo XX,
Larry & the Blue Notes,
Audionom,
Neu!,
Lou Reed & John Cale,
Sun Ra Arkestra,
Vladislav Delay,
Pantytec,
The Blues Magoos,
Joe Finger,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.