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 Mexico and from Beijing.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Milan 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Pantytec to the punk kids.
I played it at CBGB's.
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 Adolescents. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Warren Ellis,
The Black Dice,
Motorama,
Public Enemy,
Boogie Down Productions,
Clear Light,
Brass Construction,
Deutsch Amerikanische Freundschaft,
Mission of Burma,
Fatback Band,
Aural Exciters,
John Holt,
Johnny Osbourne,
Alison Limerick,
The Dead C,
Pere Ubu,
Deakin,
Howard Jones,
Grauzone,
The Offenders,
Echo & the Bunnymen,
Bauhaus,
Pharoah Sanders,
Stockholm Monsters,
Scott Walker,
Sun Ra,
Adolescents,
The Techniques,
Ultimate Spinach,
Drive Like Jehu,
the Association,
The Skatalites,
Moss Icon,
Reuben Wilson,
JFA,
ABBA,
Boredoms,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
Intrusion,
Marmalade,
Harpers Bizarre,
Jimmy McGriff,
The Fire Engines,
Curtis Mayfield,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Lou Reed,
The Grass Roots,
The New Christs,
Darondo,
B.T. Express,
The Blackbyrds,
Big Daddy Kane,
Panda Bear,
The Doobie Brothers,
The Names,
Marc Romboy vs. Booka Shade,
Deepchord,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.