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 Zimbabwe and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Mars to the jazz kids.
I played it at the 40 Watt.
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 Organ. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator 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 synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Glenn Branca,
Pantaleimon,
Camouflage,
the Association,
Outsiders,
The American Breed,
Bang on a Can All-Stars,
Pylon,
China Crisis,
Scrapy,
The Human League,
Jacques Brel,
Derrick May,
Quando Quango,
Duran Duran,
Electric Light Orchestra,
Mandrill,
DNA,
Niagra,
Dual Sessions,
Byron Stingily,
Unrelated Segments,
Kas Product,
The Move,
Accadde A,
Brick,
Lungfish,
Lindisfarne,
Throbbing Gristle,
Banda Bassotti,
Pete Rock & C.L. Smooth,
Radio Birdman,
Magma,
R.M.O.,
Bobby Sherman,
Gary Puckett & The Union Gap,
The Fire Engines,
The West Coast Pop Art Experimental Band,
Mad Mike,
The Slackers,
Icehouse,
The Wake,
Rapeman,
Fugazi,
Essential Logic,
Wasted Youth,
Rhythim Is Rhythim,
H. Thieme,
Gil Scott Heron,
The Moody Blues,
Anthony Braxton,
A Flock of Seagulls,
Talk Talk,
Funky Four + One,
Sad Lovers and Giants,
Nick Cave & The Bad Seeds,
Gang Gang Dance,
Lucky Dragons,
Pussy Galore,
Index,
Thinking Fellers Union Local 282,
Panda Bear,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.