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 Ireland and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 New York and London.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 John Coltrane to the jazz kids.
I played it at the Troubador.
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 Lonnie Liston Smith. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum 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 a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Pere Ubu,
Metal Thangz,
Minnie Riperton,
Kango’s Stein Massive,
The Modern Lovers,
Ronnie Foster,
Wolf Eyes,
The Barracudas,
Porter Ricks,
Sonny Sharrock,
The Offenders,
Siglo XX,
Gil Scott Heron,
Soft Cell,
Bluetip,
Alice Coltrane,
Lebanon Hanover,
Maleditus Sound,
The Gories,
Godley & Creme,
Peter and Kerry,
Neil Young,
Junior Murvin,
Schoolly D,
Marcia Griffiths,
Chris Corsano,
Second Layer,
Alison Limerick,
Josef K,
Interpol,
The Busters,
Ajijia Myrayebe,
Mantronix,
Kool G Rap & DJ Polo,
The Fire Engines,
Terrestrial Tones,
These Immortal Souls,
Howard Jones,
The Victims,
Gabor Szabo,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Deepchord,
F. McDonald,
Yazoo,
JFA,
T. Rex,
OOIOO,
Kings Of Tomorrow,
Sandy B,
Larry & the Blue Notes,
Black Moon,
Parry Music,
Lou Reed,
Bush Tetras,
Adolescents,
The Electric Prunes,
Byron Stingily,
Gang Gang Dance,
Rites of Spring,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.