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 Macedonia and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Cairo and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Smiths to the punk kids.
I played it at the Crocodile.
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 Parry Music. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Absolute Body Control,
Juan Atkins,
London Community Gospel Choir,
Inner City,
The Divine Comedy,
Lalo Schifrin,
Soul Sonic Force,
JFA,
Clear Light,
The Grass Roots,
Nico,
The Velvet Underground,
the Association,
Eyeless In Gaza,
Matthew Bourne,
The Cosmic Jokers,
Rowland S Howard / Lydia Lunch,
The Gladiators,
Main Source,
Sunsets and Hearts,
Dr. Dre and Snoop Doggy Dog,
Iggy Pop,
The Men They Couldn't Hang,
Ponytail,
Ultra Naté,
Ajijia Myrayebe,
Magazine,
Cecil Taylor,
Ralphi Rosario,
The Gun Club,
10cc,
Be Bop Deluxe,
the Swans,
Pete Rock & C.L. Smooth,
Isaac Hayes,
Albert Ayler,
Lou Reed & Metallica,
Junior Murvin,
Kings Of Tomorrow,
Yaz,
Schoolly D,
Kevin Saunderson,
Scion,
De La Soul & Jungle Brothers,
Ultimate Spinach,
Technova,
Blake Baxter,
Alice Coltrane,
Rosa Yemen,
Steve Hackett,
Darondo,
Sugar Minott,
The Martian,
Nick Fraelich,
The Smoke,
The Happenings,
Minutemen,
The Shadows of Knight,
H. Thieme,
Gil Scott-Heron & Brian Jackson,
Procol Harum,
Freddie Wadling,
Ice-T, Ice-T, Ice-T, Ice-T.
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.