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 Dominica and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Bologna 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 the Sonics to the crunk 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 Girls At Our Best!. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Max Romeo 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Al Stewart,
Brand Nubian,
Freddie Wadling,
Brass Construction,
The Doors,
Sonic Youth,
The Dead C,
Gregory Isaacs,
Avey Tare's Slasher Flicks,
Lou Reed,
Aural Exciters,
Anakelly,
Black Bananas,
Sex Pistols,
Parry Music,
Kerri Chandler,
Skriet,
Sight & Sound,
The Five Americans,
Fela Kuti,
kango's stein massive,
Excepter,
David McCallum,
Cybotron,
Avey Tare & Kría Brekkan,
10cc,
The Names,
48th St. Collective,
Bootsy Collins,
Newcleus,
Joyce Sims,
LL Cool J,
Zero Boys,
Cymande,
Delon & Dalcan,
Barrington Levy,
The Invisible,
Slave,
The Moleskins,
The Selecter,
Sparks,
Nation of Ulysses,
Sam Rivers,
Bobby Byrd,
David Axelrod,
Motorama,
The Blackbyrds,
James Chance & The Contortions,
The Sound,
The Grass Roots,
Boredoms,
Livin' Joy,
Mars,
Bootsy's Rubber Band,
Glambeats Corp.,
Siglo XX,
Eric Copeland,
The Fall,
Young Marble Giants,
Outsiders,
The Knickerbockers,
cv313, cv313, cv313, cv313.
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.