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 France and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Taipei 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Angry Samoans to the disco kids.
I played it at the Astoria.
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 the Germs. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Bobby Sherman,
a-ha,
Ultramagnetic MC's,
Scratch Acid,
Moebius,
The Move,
Siglo XX,
Au Pairs,
Eric Dolphy,
Black Flag,
Groovy Waters,
Eden Ahbez,
Yusef Lateef,
Danielle Patucci,
Justin Hinds & The Dominoes,
Malaria!,
Fear,
Half Japanese,
Ice-T,
Idris Muhammad,
Oneida,
Richard Hell and the Voidoids,
The Martian,
Metal Thangz,
JFA,
Section 25,
The Remains,
Crime,
Jacques Brel,
Kerrie Biddell,
Minny Pops,
Roy Ayers Ubiquity,
Gang Starr,
Crash Course in Science,
Bobby Hutcherson,
Cluster,
Drexciya,
Severed Heads,
Qualms,
The Smoke,
The Saints,
Hashim,
Peter and Kerry,
Mandrill,
Slave,
Lou Christie,
Larry & the Blue Notes,
Be Bop Deluxe,
Frankie Knuckles,
Mo-Dettes,
The Gladiators,
Cymande,
Pete Rock & C.L. Smooth,
Lou Reed,
Kaleidoscope,
Organ,
Agitation Free,
Pierre Henry,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.