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 Yemen and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Lagos and Stockholm.
I'm losing my edge to the art-school Manila 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Dr. Dre and Snoop Doggy Dog to the jazz 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 The Cowsills. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a chamberlin 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Todd Rundgren,
Oppenheimer Analysis,
Flash Fearless,
Shoche,
Faraquet,
Grandmaster Flash,
Kurtis Blow,
Jesper Dahlbäck,
the Association,
The Pop Group,
John Cale,
Flamin' Groovies,
Ohio Players,
Super Lover Cee & Casanova Rud,
Boredoms,
Ultravox,
Unrelated Segments,
Stetsasonic,
Cecil Taylor,
Rapeman,
Minor Threat,
A Flock of Seagulls,
Al Stewart,
Brass Construction,
Nico,
The Velvet Underground,
the Bar-Kays,
Hardrive,
Bootsy Collins,
Dark Day,
KRS-One,
The Cramps,
Kango’s Stein Massive,
The Fortunes,
The Royal Family And The Poor,
Sparks,
Sun City Girls,
Stockholm Monsters,
Girls At Our Best!,
Flipper,
The Monks,
Pagans,
Swans,
Chrome,
The Busters,
Maleditus Sound,
The Blackbyrds,
Electric Light Orchestra,
Gang Green,
Black Pus,
Mandrill,
Electric Prunes,
Eric Copeland,
Lindisfarne,
Josef K,
Cameo,
Teenage Jesus and the Jerks,
Angry Samoans,
The Mojo Men,
Funky Four + One,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.