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 France and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Fluxion to the electroclash 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 Marine Girls. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Drexciya 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 harpsichord and a sitar 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 mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Moebius,
Alison Limerick,
Supertramp,
Strawberry Alarm Clock,
The Leaves,
The Moleskins,
Kevin Saunderson,
Saccharine Trust,
Sonny Sharrock,
Mandrill,
John Coltrane,
ABC,
Ponytail,
The Fugs,
Idris Muhammad,
Little Man,
Whodini,
The Dead C,
The Slackers,
Scion,
Vaughan Mason & Crew,
Louis and Bebe Barron,
The Victims,
The United States of America,
Radiohead,
Desert Stars,
Pantaleimon,
Bang On A Can,
Minutemen,
Maleditus Sound,
The Last Poets,
Skriet,
The Offenders,
The Martian,
Iggy Pop,
10cc,
Morten Harket,
Traffic Nightmare,
Ohio Players,
Sällskapet,
Cymande,
The Monochrome Set,
Agent Orange,
Cal Tjader,
Moss Icon,
The Gladiators,
Negative Approach,
Parry Music,
The Red Krayola,
World's Most,
Josef K,
Notorious Big And Bone Thugs,
Cheater Slicks,
Tim Buckley,
Ronan,
Scan 7,
Crash Course in Science,
Gerry Rafferty,
UT,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.