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 Micronesia and from Houston.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Lagos 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum 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 Eurythmics to the electroclash 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 Skaos. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Au Pairs,
Gichy Dan,
Can,
The Standells,
The West Coast Pop Art Experimental Band,
Mars,
Audionom,
Fela Kuti,
Siglo XX,
Hoover,
Nils Olav,
The Misunderstood,
The Star Department,
Sound Behaviour,
Nirvana,
Piero Umiliani,
The Detroit Cobras,
Essential Logic,
Minny Pops,
Maleditus Sound,
The Walker Brothers,
D'Angelo,
Arthur Verocai,
Josef K,
Junior Murvin,
Albert Ayler,
Slave,
Easy Going,
June Days,
Public Image Ltd.,
The Flesh Eaters,
Peter and Kerry,
K-Klass,
Fat Boys,
the Human League,
U.S. Maple,
The Trojans,
John Holt,
H. Thieme,
Radiopuhelimet,
Niagra,
Marvin Gaye,
Erasure,
Simply Red,
Marmalade,
Chris & Cosey,
Röyhkä ja Rättö ja Lehtisalo,
Fluxion,
The Human League,
Erykah Badu,
Aaron Thompson,
Derrick May,
Wasted Youth,
Richard Hell and the Voidoids,
Terrestrial Tones,
Letta Mbulu,
Henry Cow,
Groovy Waters,
Lee Hazlewood,
The Victims,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.