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 Uganda and from Manila.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Edmonton 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 1984 at the first Arcadia practice in a loft in London.
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 Fugazi to the funk kids.
I played it at Trash.
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 Alphaville. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron 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 rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Bang On A Can,
Scott Walker,
Sixth Finger,
Electric Light Orchestra,
Stetsasonic,
Jesper Dahlbäck,
The Smoke,
The Chocolate Watch Band,
Circle Jerks,
Barrington Levy,
Pere Ubu,
Shuggie Otis,
Aural Exciters,
Frankie Knuckles,
Gil Scott-Heron and Jamie xx,
Ken Boothe,
Chrome,
Pharaoh Sanders and the Fire Engines,
Smog,
Negative Approach,
The Walker Brothers,
Babytalk,
It's A Beautiful Day,
Albert Ayler,
The Buckinghams,
Patti Smith,
The Black Dice,
Charles Mingus,
The Residents,
The Men They Couldn't Hang,
Schoolly D,
Jacob Miller,
Television Personalities,
DeepChord presents Echospace,
The Toasters,
Suburban Knight,
Mandrill,
Beasts of Bourbon,
The Mummies,
Nation of Ulysses,
Dark Day,
The Moody Blues,
Ice-T,
Grauzone,
Slick Rick,
Marshall Jefferson,
The Sisters of Mercy,
Faust,
Justin Hinds & The Dominoes,
Deutsch Amerikanische Freundschaft,
The Fortunes,
Rotary Connection,
Magazine,
Sister Nancy,
David Axelrod,
Davy DMX,
Amon Düül II,
Soulsonic Force,
John Coltrane,
Leonard Cohen,
The Dave Clark Five,
Gastr Del Sol,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.