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 Saudi Arabia and from Manchester.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Paris 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 Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Groovy Waters to the techno kids.
I played it at the Roxy.
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 Deadbeat. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet 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 rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Visage,
Susan Cadogan,
The Residents,
Yellowson,
Lalann,
Röyhkä ja Rättö ja Lehtisalo,
H. Thieme,
The Doobie Brothers,
B.T. Express,
Bootsy's Rubber Band,
Red Lorry Yellow Lorry,
The Martian,
Rapeman,
Warren Ellis,
Avey Tare's Slasher Flicks,
Nation of Ulysses,
Scion,
John Cale,
Severed Heads,
Fat Boys,
Derrick May,
Liliput,
X-102,
The Modern Lovers,
Skriet,
Gil Scott-Heron & Brian Jackson,
The Invisible,
New York Dolls,
Eli Mardock,
Don Cherry,
The Divine Comedy,
Groovy Waters,
Jacques Brel,
The Fall,
Scientists,
Whodini,
Sonny Sharrock,
Pole,
Amazonics,
Glambeats Corp.,
Freddie Wadling,
Vaughan Mason & Crew,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stereo Dub,
Quantec,
the Swans,
Animal Collective,
The Star Department,
Index,
Be Bop Deluxe,
Average White Band,
The Motions,
Pierre Henry,
Sonic Youth,
Lou Christie,
The Young Rascals,
Captain Beefheart & His Magic Band,
Eden Ahbez,
Marcia Griffiths,
Scott Walker,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.