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 Vietnam and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Andrew Ashong & Theo Parrish to the jazz kids.
I played it at the Troubador.
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 Ten City. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum 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 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Motorama,
Deutsch Amerikanische Freundschaft,
FM Einheit,
Bob Dylan,
Chris & Cosey,
Bootsy's Rubber Band,
Spoonie Gee,
Eddi Front,
Echospace,
Swans,
Zero Boys,
Mandrill,
Public Image Ltd.,
Sparks,
Lyres,
Circle Jerks,
John Foxx,
Marcia Griffiths,
Rakim,
Suicide,
Soulsonic Force,
R.M.O.,
Franke,
Sad Lovers and Giants,
Siouxsie and the Banshees,
David McCallum,
Scratch Acid,
Sight & Sound,
Interpol,
Amon Düül II,
Judy Mowatt,
Bizarre Inc.,
Art Ensemble Of Chicago,
Clear Light,
the Bar-Kays,
Bobbi Humphrey,
Q65,
Delon & Dalcan,
The Zeros,
Slave,
The Invisible,
Warsaw,
Andrew Ashong & Theo Parrish,
Japan,
ABC,
Sugar Minott,
Terror Squad Feat. Camron,
Pere Ubu,
Au Pairs,
Section 25,
The Move,
Jesper Dahlbäck,
Masters at Work,
Josef K,
A Flock of Seagulls,
Peter & Gordon,
Funky Four + One,
Half Japanese,
UT,
Easy Going,
London Community Gospel Choir,
Crooked Eye,
Lakeside, Lakeside, Lakeside, Lakeside.
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.