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 Marshall Islands and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Woodstock 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Gil Scott Heron to the electroclash kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Reagan Youth,
Harpers Bizarre,
The Flesh Eaters,
Larry & the Blue Notes,
Marc Romboy vs. Booka Shade,
Mary Jane Girls,
10cc,
Byron Stingily,
Kerrie Biddell,
Skriet,
Mars,
Althea and Donna,
The Music Machine,
Alphaville,
Brand Nubian,
Louis and Bebe Barron,
Monks,
James White and The Blacks,
Desert Stars,
The Mighty Diamonds,
Sex Pistols,
Royal Trux,
Aswad,
Nils Olav,
Chris Corsano,
Banda Bassotti,
The Grass Roots,
The Cosmic Jokers,
Flamin' Groovies,
The Dirtbombs,
Mo-Dettes,
Nik Kershaw,
Fad Gadget,
The Chocolate Watch Band,
Susan Cadogan,
Soft Machine,
One Last Wish,
Avey Tare's Slasher Flicks,
DJ Sneak,
Section 25,
Sister Nancy,
Terrestrial Tones,
Rotary Connection,
Sly & The Family Stone,
Robert Wyatt,
Black Bananas,
UT,
Cameo,
The Blackbyrds,
Connie Case,
Siouxsie and the Banshees,
Bobby Hutcherson,
Urselle,
Barbara Tucker,
Silicon Teens,
Red Lorry Yellow Lorry,
Ornette Coleman,
U.S. Maple,
the Association,
Rahsaan Roland Kirk,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.