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 Comoros and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare 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 Desert Stars to the grunge kids.
I played it at the Spitz.
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 Fatback Band. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Moebius 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 '90s.
I hear you're buying a mellotron and a marimba 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 clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Lightning Bolt,
Ohio Players,
James Chance & The Contortions,
Althea and Donna,
EPMD,
The Litter,
Harpers Bizarre,
Scratch Acid,
Girls At Our Best!,
Thompson Twins,
Art Ensemble Of Chicago,
Angry Samoans,
Roxette,
Faraquet,
Sarah Menescal,
Bobby Sherman,
Lonnie Liston Smith,
Kayak,
Susan Cadogan,
John Lydon,
AZ,
Jandek,
R.M.O.,
Gong,
Dave Gahan,
Glambeats Corp.,
Stockholm Monsters,
Neu!,
Piero Umiliani,
La Düsseldorf,
H. Thieme,
Captain Beefheart & His Magic Band,
Minnie Riperton,
Patti Smith,
Can,
The Names,
Jacob Miller,
Bluetip,
The Sound,
The Wake,
Heaven 17,
Aaron Thompson,
Drexciya,
James White and The Blacks,
Moby Grape,
48th St. Collective,
8 Eyed Spy,
Underground Resistance,
Bauhaus,
Niagra,
Goldenarms,
Porter Ricks,
the Soft Cell,
Dawn Penn,
Kaleidoscope,
Manfred Mann's Earth Band,
Roy Ayers,
Glenn Branca,
Ice-T,
The Vogues,
Soft Cell,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.