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 Romania and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1970.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Black Pus to the jazz 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 Rosa Yemen. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum 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 linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Donald Byrd,
Quadrant,
Red Lorry Yellow Lorry,
Ralphi Rosario,
Kerrie Biddell,
Lightning Bolt,
Oneida,
Laurel Aitken,
Brick,
Inner City,
Severed Heads,
Rotary Connection,
Iggy Pop,
Mission of Burma,
Rhythm & Sound,
Metal Thangz,
Eddi Front,
Deepchord,
Crispy Ambulance,
Gian Franco Pienzio,
Art Ensemble Of Chicago,
Vladislav Delay,
Big Daddy Kane,
The American Breed,
The Beau Brummels,
Negative Approach,
Soft Cell,
Strawberry Alarm Clock,
Echospace,
The Gladiators,
Suicide,
Mark Hollis,
Radiohead,
Wally Richardson,
Sight & Sound,
Ornette Coleman,
Ash Ra Tempel,
Henry Cow,
Q and Not U,
Outsiders,
Röyhkä ja Rättö ja Lehtisalo,
The Buckinghams,
Patti Smith,
Leonard Cohen,
Al Stewart,
Deutsch Amerikanische Freundschaft,
John Cale,
Monolake,
The Seeds,
Oppenheimer Analysis,
Davy DMX,
Echo & the Bunnymen,
Masters at Work,
N.O.R.E. Featuring Pharrell,
Unrelated Segments,
Kas Product,
Visage,
Avey Tare & Kría Brekkan,
Eurythmics,
Spoonie Gee,
Sad Lovers and Giants,
The Fall,
Yellowson, Yellowson, Yellowson, Yellowson.
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.