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 Belize and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Lille 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Sandy B to the rock 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 Seeds. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 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?
The Cure,
Scratch Acid,
Radiohead,
Brothers Johnson,
U.S. Maple,
Aural Exciters,
Gastr Del Sol,
Chris Corsano,
Warren Ellis,
CMW,
Shuggie Otis,
June of 44,
Echospace,
The Peanut Butter Conspiracy,
DJ Style,
Albert Ayler,
Clear Light,
Brand Nubian,
Ultra Naté,
Joe Smooth,
Thompson Twins,
Sly & The Family Stone,
Harpers Bizarre,
New Age Steppers,
Moss Icon,
The Victims,
Man Eating Sloth,
Marine Girls,
Slick Rick,
Brick,
Magma,
Rakim,
Aaron Thompson,
Japan,
Khruangbin,
Kevin Saunderson,
One Last Wish,
The Skatalites,
Maleditus Sound,
Strawberry Alarm Clock,
The Zeros,
Cheater Slicks,
Lou Christie,
The Monochrome Set,
Pole,
Theoretical Girls,
The Pretty Things,
Wolf Eyes,
Laurel Aitken,
Deadbeat,
Jacques Brel,
Lower 48,
Rufus Thomas,
Toni Rubio,
Nirvana,
Banda Bassotti,
Beasts of Bourbon,
The Red Krayola,
Monolake,
Lucky Dragons,
Althea and Donna,
The Dead C, The Dead C, The Dead C, The Dead C.
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.