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 Belize and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Mumbai 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 güiro 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 Minutemen to the jazz kids.
I played it at Cafe Wha.
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 The Smiths. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Johnny Clarke,
The Index,
Siouxsie and the Banshees,
H. Thieme,
Tom Boy,
Gian Franco Pienzio,
Faust,
Wally Richardson,
Kas Product,
Colin Newman,
The Chocolate Watch Band,
Deakin,
John Coltrane,
Franke,
Lonnie Liston Smith,
Essential Logic,
Joe Finger,
Nico,
Soul Sonic Force,
Nils Olav,
Eric Dolphy,
Sparks,
Television,
Japan,
Boredoms,
Fifty Foot Hose,
Pantaleimon,
Archie Shepp,
The Doobie Brothers,
Boogie Down Productions,
Terry Callier,
Crime,
Pole,
The Slackers,
Fela Kuti,
Notorious Big And Bone Thugs,
the Germs,
Oblivians,
Rhythm & Sound,
Intrusion,
Bluetip,
Sonny Sharrock,
Donny Hathaway,
Donald Byrd,
Amazonics,
Livin' Joy,
Camberwell Now,
Thompson Twins,
Soul II Soul,
Scion,
Section 25,
The Wake,
Aaron Thompson,
Sun Ra Arkestra,
The Young Rascals,
Tommy Roe,
Surgeon,
Make Up,
Lightning Bolt,
Junior Murvin,
Cluster,
Skarface,
Sonic Youth,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.