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 Ecuador and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1974.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Taipei 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the jazz kids.
I played it at the Hacienda.
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 Scott Walker. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Lakeside 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 '80s.
I hear you're buying a synthesizer and a 808 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Radio Birdman,
New Age Steppers,
The Neon Judgement,
Zero Boys,
Be Bop Deluxe,
Jesper Dahlbäck,
The Cramps,
Electric Light Orchestra,
Mandrill,
Gian Franco Pienzio,
Mark Hollis,
Fifty Foot Hose,
The Real Kids,
The Standells,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Youth Brigade,
Niagra,
Minor Threat,
Justin Hinds & The Dominoes,
the Slits,
Mary Jane Girls,
Ossler,
Wighnomy Brothers & Robag Wruhme,
Bang On A Can,
Wasted Youth,
Letta Mbulu,
The Zeros,
Amazonics,
The Evens,
Röyhkä ja Rättö ja Lehtisalo,
Josef K,
Stetsasonic,
Aural Exciters,
The Selecter,
Warren Ellis,
Boredoms,
Joey Negro,
Pharaoh Sanders and the Fire Engines,
Althea and Donna,
Faust,
Eurythmics,
Dorothy Ashby,
Heaven 17,
Zapp,
Jeru the Damaja,
Yellowson,
Sad Lovers and Giants,
The Stooges,
Marc Almond,
The Mummies,
Fat Boys,
Slave,
Sex Pistols,
T. Rex,
Negative Approach,
James White and The Blacks,
The Move,
Albert Ayler,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.