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 Mexico and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Talk Talk to the crunk 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 10cc. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal rock 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 808 and a synthesizer 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 chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Fear,
The Misunderstood,
Faust,
Matthew Bourne,
U.S. Maple,
Steve Hackett,
Bootsy's Rubber Band,
Easy Going,
Deutsch Amerikanische Freundschaft,
Depeche Mode,
Bob Dylan,
Aaron Thompson,
Tom Boy,
LL Cool J,
Basic Channel,
Guru Guru,
Hashim,
DNA,
Hot Snakes,
Index,
Nik Kershaw,
Simply Red,
Ohio Players,
Soulsonic Force,
Marshall Jefferson,
Sound Behaviour,
kango's stein massive,
Andrew Hill,
The Sisters of Mercy,
Cybotron,
Ornette Coleman,
The Real Kids,
Babytalk,
Dave Gahan,
Scott Walker + Sunn O))),
Toni Rubio,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sex Pistols,
Blossom Toes,
The Associates,
David Axelrod,
Gabor Szabo,
Neil Young & Crazy Horse,
Kerrie Biddell,
Manfred Mann's Earth Band,
Ronnie Foster,
Amon Düül,
Joe Smooth,
Bang on a Can All-Stars,
Girls At Our Best!,
Parry Music,
Magazine,
Rod Modell,
Roxette,
Surgeon,
Saccharine Trust,
Subhumans,
Bad Manners,
Gichy Dan,
The Move,
Peter & Gordon,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.