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 Eritrea and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Tehran 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Brass Construction 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 the Normal. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Peter and Kerry 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin 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 marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
David Axelrod,
The Dead C,
One Last Wish,
James White and The Blacks,
Bobbi Humphrey,
Section 25,
Ultravox,
Dual Sessions,
The Saints,
Dave Gahan,
Quadrant,
Hashim,
Gil Scott-Heron and Jamie xx,
The Flesh Eaters,
The Divine Comedy,
The Shadows of Knight,
Roy Ayers Ubiquity,
De La Soul & Jungle Brothers,
Crispian St. Peters,
The Litter,
Kings Of Tomorrow,
Cecil Taylor,
Derrick Morgan,
Eden Ahbez,
The Barracudas,
The Red Krayola,
John Foxx,
Traffic Nightmare,
Black Sheep,
Boz Scaggs,
Wolf Eyes,
Lou Reed & Metallica,
Pharoah Sanders,
Pantaleimon,
Massinfluence,
Lyres,
Lou Christie,
Second Layer,
Fad Gadget,
The Gladiators,
The Associates,
Nas,
Goldenarms,
Sarah Menescal,
Pussy Galore,
Robert Hood,
Tres Demented,
Vainqueur,
Cabaret Voltaire,
Marshall Jefferson,
Letta Mbulu,
Matthew Bourne,
Minnie Riperton,
Girls At Our Best!,
Eve St. Jones,
Tomorrow,
Negative Approach,
DJ Sneak,
Jeff Lynne,
Electric Prunes,
Oppenheimer Analysis,
James Chance & The Contortions,
Mars, Mars, Mars, Mars.
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.