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 Belarus and from Seoul.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Seoul 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Iggy Pop to the rock 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 Echo & the Bunnymen. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
D'Angelo,
Rapeman,
Sunsets and Hearts,
Liliput,
Ten City,
Rowland S Howard / Lydia Lunch,
Minny Pops,
Deadbeat,
Rotary Connection,
Zapp,
The Mighty Diamonds,
Barry Ungar,
The Durutti Column,
The Standells,
Underground Resistance,
Lebanon Hanover,
In Retrospect,
Boredoms,
Ornette Coleman,
Bizarre Inc.,
Youth Brigade,
Bobby Hutcherson,
The Smoke,
Lakeside,
It's A Beautiful Day,
Ultimate Spinach,
Gary Puckett & The Union Gap,
X-Ray Spex,
Traffic Nightmare,
World's Most,
Tomorrow,
Marc Romboy vs. Booka Shade,
LL Cool J,
Archie Shepp,
Rosa Yemen,
The Blues Magoos,
Throbbing Gristle,
Yaz,
Robert Görl,
Larry & the Blue Notes,
Henry Cow,
Bill Wells,
Pussy Galore,
Kings Of Tomorrow,
Depeche Mode,
Quadrant,
Moby Grape,
The Neon Judgement,
Bang On A Can,
Lizzy Mercier Descloux,
Wolf Eyes,
The Gap Band,
Echo & the Bunnymen,
Young Marble Giants,
Manfred Mann's Earth Band,
the Normal,
Kerrie Biddell,
Sun Ra Arkestra,
Lyres,
Alton Ellis,
Buzzcocks,
Faust,
FM Einheit,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.