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 Guinea-Bissau and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1978.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Saccharine Trust to the punk 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 The Standells. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal punk 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 snare 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 arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Minutemen,
Letta Mbulu,
Kerrie Biddell,
Lyres,
The Offenders,
Easy Going,
Masters at Work,
Richard Hell and the Voidoids,
The Pretty Things,
Thinking Fellers Union Local 282,
H. Thieme,
Saccharine Trust,
the Slits,
Basic Channel,
Bootsy Collins,
Carl Craig,
The Selecter,
Scan 7,
Soft Machine,
Susan Cadogan,
Morten Harket,
The Gun Club,
U.S. Maple,
Young Marble Giants,
The Durutti Column,
Lafayette Afro Rock Band,
Wasted Youth,
Beasts of Bourbon,
Nils Olav,
Spoonie Gee,
Kerri Chandler,
X-Ray Spex,
Sun Ra Arkestra,
The Golliwogs,
Rotary Connection,
Soul II Soul,
Roy Ayers Ubiquity,
Scion,
The Shadows of Knight,
Cluster,
Deepchord,
Echo & the Bunnymen,
Janne Schatter,
Camberwell Now,
Radio Birdman,
World's Most,
Tim Buckley,
Dual Sessions,
Dennis Brown,
Boredoms,
Maleditus Sound,
Aaron Thompson,
The Leaves,
Severed Heads,
Fatback Band,
The Monochrome Set,
Ice-T,
Pete Rock & C.L. Smooth,
Strawberry Alarm Clock,
Yellowson,
Todd Terry,
Gong,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.