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 Lebanon and from New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Lyon 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 Jacques Brel to the punk kids.
I played it at the Astoria.
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 Ash Ra Tempel. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb 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 arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Skarface,
Grey Daturas,
Model 500,
Joensuu 1685,
Parry Music,
Kevin Saunderson,
Fat Boys,
DJ Sneak,
Cybotron,
Outsiders,
Wolf Eyes,
Lungfish,
La Düsseldorf,
Radio Birdman,
Amazonics,
Mars,
The Red Krayola,
Skriet,
Talk Talk,
Sun Ra,
The Sound,
Blancmange,
Josef K,
Wally Richardson,
Kango’s Stein Massive,
Nick Fraelich,
Dr. Dre and Snoop Doggy Dog,
Letta Mbulu,
Louis and Bebe Barron,
The Invisible,
Dark Day,
Roy Ayers,
Nation of Ulysses,
Cluster,
Television Personalities,
Stockholm Monsters,
Fad Gadget,
The Durutti Column,
Smog,
Camron Feat. Memphis Bleek And Beenie Seigel,
Notorious BIG live in Amsterdam,
The Mighty Diamonds,
Bobby Womack,
Black Flag,
Livin' Joy,
Terror Squad Feat. Camron,
The Mojo Men,
the Slits,
Soft Machine,
Hashim,
The Monochrome Set,
Marmalade,
Rosa Yemen,
John Foxx,
Audionom,
Masters at Work,
Tim Buckley,
John Lydon,
The Star Department,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.