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 Gabon and from Philadelphia.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Tommy Roe to the grime kids.
I played it at Trash.
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 Marcia Griffiths. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Motorama,
Wolf Eyes,
Jeff Mills,
Angels of Light & Akron/Family,
The Human League,
Kool Moe Dee,
Infiniti,
The Star Department,
Tres Demented,
Television,
Can,
The Index,
K-Klass,
The Alarm Clocks,
Prince Buster,
Harpers Bizarre,
Fifty Foot Hose,
Lalo Schifrin,
Notorious BIG live in Amsterdam,
Joensuu 1685,
Davy DMX,
Chris & Cosey,
Young Marble Giants,
Lucky Dragons,
the Sonics,
Nick Fraelich,
Public Image Ltd.,
Alison Limerick,
Hoover,
Talk Talk,
Tropical Tobacco,
The Shadows of Knight,
Laurel Aitken,
Porter Ricks,
Sarah Menescal,
Derrick May,
Monks,
Country Joe & The Fish,
Teenage Jesus and the Jerks,
Fugazi,
Chris Corsano,
Marine Girls,
Animal Collective,
Marc Almond,
Sunsets and Hearts,
Yusef Lateef,
The Litter,
Stetsasonic,
Whodini,
The Last Poets,
Gil Scott-Heron and Jamie xx,
Selector Dub Narcotic,
Oneida,
Au Pairs,
Barrington Levy,
Adolescents,
Bob Dylan,
Crash Course in Science,
Lafayette Afro Rock Band,
Scientists,
The Wake, The Wake, The Wake, The Wake.
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.