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 Fiji and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Subhumans to the rap 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 Icehouse. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Mantronix,
A Flock of Seagulls,
Gerry Rafferty,
Lakeside,
Tom Boy,
Lou Christie,
Joey Negro,
Severed Heads,
Brass Construction,
Black Sheep,
The Gories,
Mars,
Gary Puckett & The Union Gap,
Tres Demented,
Franke,
Reuben Wilson,
Orchestral Manoeuvres in the Dark,
The Cure,
The Leaves,
Dark Day,
John Foxx,
The Shadows of Knight,
Roxy Music,
Fat Boys,
Wasted Youth,
Minor Threat,
Terry Callier,
Roy Ayers,
Symarip,
Flamin' Groovies,
Joyce Sims,
Bizarre Inc.,
Ten City,
Sam Rivers,
Joe Smooth,
Flash Fearless,
Mr. Review,
Kenny Larkin,
The Residents,
Scott Walker,
Marmalade,
Eric Copeland,
Ajijia Myrayebe,
Depeche Mode,
The Busters,
Oppenheimer Analysis,
Throbbing Gristle,
48th St. Collective,
The Vogues,
Davy DMX,
X-101,
Pole,
Sixth Finger,
The Tremeloes,
Wally Richardson,
Slick Rick,
Byron Stingily,
Marcia Griffiths,
Faraquet,
Marine Girls,
Kerrie Biddell,
Boogie Down Productions,
China Crisis, China Crisis, China Crisis, China Crisis.
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.