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 Belarus and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Arthur Verocai to the electroclash kids.
I played it at the Hacienda.
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 Mighty Diamonds. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an organ 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 clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Lightning Bolt,
James White and The Blacks,
Minnie Riperton,
Angels of Light & Akron/Family,
Lee Hazlewood,
Gichy Dan,
Kevin Saunderson,
Slick Rick,
Man Parrish,
The Pretty Things,
Graham Central Station,
the Association,
Absolute Body Control,
Pet Shop Boys,
Nils Olav,
The Human League,
Mad Mike,
Black Bananas,
Morten Harket,
Thompson Twins,
The Sisters of Mercy,
Radiohead,
Magma,
Joyce Sims,
David Axelrod,
Crispy Ambulance,
Sällskapet,
EPMD,
Larry & the Blue Notes,
Amon Düül II,
Q and Not U,
A Flock of Seagulls,
Marshall Jefferson,
Howard Jones,
Junior Murvin,
Tom Boy,
Rotary Connection,
The Motions,
The Wake,
Chris Corsano,
Agent Orange,
the Germs,
Main Source,
Echospace,
Underground Resistance,
Inner City,
Groovy Waters,
the Normal,
Malaria!,
JFA,
Basic Channel,
Motorama,
Alton Ellis,
Jeff Lynne,
Pierre Henry,
Fifty Foot Hose,
Glambeats Corp.,
Gastr Del Sol,
Bauhaus,
Second Layer,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.