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 Liberia and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Animal Collective to the grime 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 Richard Hell and the Voidoids. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Sex Pistols 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes 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 guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
PIL,
The Vogues,
Fad Gadget,
The Cowsills,
Andrew Hill,
Eric Dolphy,
Blancmange,
Minutemen,
Lightning Bolt,
H. Thieme,
Visage,
The Music Machine,
MDC,
Sun Ra Arkestra,
Rotary Connection,
Echospace,
Silicon Teens,
Rites of Spring,
Cal Tjader,
Kerri Chandler,
Piero Umiliani,
Surgeon,
Sparks,
Camberwell Now,
Donald Byrd,
Cybotron,
Tommy Roe,
the Slits,
Marc Romboy vs. Booka Shade,
John Coltrane,
Brothers Johnson,
Brand Nubian,
Stockholm Monsters,
Chris & Cosey,
The Red Krayola,
The Invisible,
Cameo,
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
Louis and Bebe Barron,
Chrome,
Japan,
Little Man,
Josef K,
Donny Hathaway,
Franke,
David Axelrod,
Radiopuhelimet,
Sexual Harrassment,
Accadde A,
Royal Trux,
Harmonia,
Das Ding,
Sad Lovers and Giants,
Arcadia,
Arthur Verocai,
Alice Coltrane,
Dave Gahan,
Heaven 17,
The Searchers, The Searchers, The Searchers, The Searchers.
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.