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 Grenada and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Tokyo 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 Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Erasure to the disco kids.
I played it at the Spitz.
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 K-Klass. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Pole,
Glambeats Corp.,
T. Rex,
Amon Düül II,
Howard Jones,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Marcia Griffiths,
Ludus,
Mr. Review,
The Sisters of Mercy,
Juan Atkins,
Smog,
Inner City,
Talk Talk,
Donald Byrd,
The Birthday Party,
Moebius,
Letta Mbulu,
The Standells,
Charles Mingus,
Zapp,
Bush Tetras,
Saccharine Trust,
Mary Jane Girls,
The Raincoats,
Kings Of Tomorrow,
The Victims,
Skarface,
Todd Terry,
Glenn Branca,
Fela Kuti,
Grauzone,
Bill Near,
Blake Baxter,
Parry Music,
David McCallum,
The J.B.'s,
Freddie Wadling,
The Happenings,
Man Parrish,
Mad Mike,
Kenny Larkin,
Subhumans,
Hasil Adkins,
Bad Manners,
Henry Cow,
Rod Modell,
Barry Ungar,
Monolake,
Lalo Schifrin,
The Mojo Men,
Terrestrial Tones,
Mars,
Josef K,
Andrew Hill,
The Slits,
La Düsseldorf,
Selector Dub Narcotic,
Model 500,
Fatback Band,
Bobby Sherman,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.