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 Switzerland and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Salvador 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin 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 The Last Poets to the techno 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 Todd Rundgren. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Cluster,
Lou Reed & Metallica,
Heaven 17,
Graham Central Station,
Reuben Wilson,
Panda Bear,
The Vogues,
Janne Schatter,
Pharaoh Sanders and the Fire Engines,
Public Image Ltd.,
Basic Channel,
A Certain Ratio,
Larry & the Blue Notes,
The Evens,
Eric Dolphy,
Tres Demented,
The Electric Prunes,
Cymande,
Eve St. Jones,
Curtis Mayfield,
Q65,
The Searchers,
Todd Terry,
Eric B and Rakim,
the Bar-Kays,
Tim Buckley,
Deakin,
Patti Smith,
The Cure,
Agitation Free,
Flipper,
Flamin' Groovies,
Das Ding,
Amon Düül II,
The Tremeloes,
Jeru the Damaja,
Kings Of Tomorrow,
La Düsseldorf,
Hashim,
Half Japanese,
John Foxx,
The Gap Band,
The Gories,
Albert Ayler,
Lyres,
Lindisfarne,
Kurtis Blow,
Sparks,
Cybotron,
X-Ray Spex,
DNA,
The Gun Club,
E-Dancer,
Gang Starr,
Grauzone,
June Days,
Wolf Eyes,
Liliput,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.