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 China and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1976.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Peter and Kerry to the techno kids.
I played it at the Astoria.
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 Martian. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb 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 marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
E-Dancer,
Be Bop Deluxe,
Cameo,
Joe Finger,
Delon & Dalcan,
Joensuu 1685,
Underground Resistance,
Talk Talk,
Harpers Bizarre,
Joey Negro,
Livin' Joy,
The Happenings,
Swell Maps,
The Gories,
Blancmange,
Neu!,
James Chance & The Contortions,
Amon Düül II,
Alison Limerick,
Oneida,
Brass Construction,
Gian Franco Pienzio,
Swans,
Darondo,
Tom Boy,
The Five Americans,
Soulsonic Force,
Icehouse,
Lou Reed,
Rotary Connection,
Heavy D & The Boyz,
Ronnie Foster,
Pete Rock & C.L. Smooth,
Terry Callier,
B.T. Express,
the Association,
Magazine,
The Pop Group,
The Gap Band,
Leonard Cohen,
Dead Boys,
Procol Harum,
Archie Shepp,
Teenage Jesus and the Jerks,
Chrome,
Kevin Saunderson,
Outsiders,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Scratch Acid,
The Offenders,
Andrew Hill,
Los Fastidios,
Peter Gordon & Love of Life Orchestra,
The Mojo Men,
Ponytail,
Thinking Fellers Union Local 282,
Roy Ayers,
The Alarm Clocks,
Wasted Youth,
The Dave Clark Five,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.