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 Haiti and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Cairo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Newcleus to the techno kids.
I played it at Cafe Wha.
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 Isaac Hayes. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord 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 synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
AZ,
The Tremeloes,
London Community Gospel Choir,
Anthony Braxton,
Barclay James Harvest,
Bob Dylan,
The Electric Prunes,
X-102,
The Pop Group,
The Dead C,
Dead Boys,
Susan Cadogan,
The Smiths,
Underground Resistance,
Colin Newman,
Quadrant,
Maurizio,
Crispian St. Peters,
Gil Scott-Heron & Brian Jackson,
The Red Krayola,
The Slits,
Reuben Wilson,
Deadbeat,
Slave,
The Alarm Clocks,
The Smoke,
Nas,
Rahsaan Roland Kirk,
Jacob Miller,
Youth Brigade,
Al Stewart,
Radio Birdman,
Janne Schatter,
Pharaoh Sanders and the Fire Engines,
Q and Not U,
Thinking Fellers Union Local 282,
Hardrive,
The Gun Club,
Amazonics,
Can,
Delta 5,
The Count Five,
Public Image Ltd.,
Wire,
The Skatalites,
Wings,
Lindisfarne,
Franke,
Selector Dub Narcotic,
Pete Rock & C.L. Smooth,
The Mighty Diamonds,
Bang on a Can All-Stars,
Pantytec,
Tim Buckley,
Sun Ra Arkestra,
Black Flag,
Shoche,
Fear,
Soul Sonic Force,
Barbara Tucker,
Bang On A Can,
Tom Boy,
Scientists, Scientists, Scientists, Scientists.
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.