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 Samoa and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Spokane 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Eurythmics to the electroclash kids.
I played it at the 40 Watt.
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 Throbbing Gristle. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 '60s cut and another box set from the '80s.
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 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Eyeless In Gaza,
Yazoo,
John Coltrane,
Orchestral Manoeuvres in the Dark,
Siglo XX,
Deutsch Amerikanische Freundschaft,
Tomorrow,
Arcadia,
Ponytail,
Lakeside,
These Immortal Souls,
Charles Mingus,
Girls At Our Best!,
Radiopuhelimet,
Letta Mbulu,
the Human League,
Blossom Toes,
Aural Exciters,
Rosa Yemen,
Crispian St. Peters,
Louis and Bebe Barron,
Archie Shepp,
Gregory Isaacs,
Roy Ayers Ubiquity,
Japan,
Jacob Miller,
The Golliwogs,
The United States of America,
Masters at Work,
the Fania All-Stars,
Mark Hollis,
The Raincoats,
Cheater Slicks,
K-Klass,
The Sonics,
New York Dolls,
Tom Boy,
Ash Ra Tempel,
Sun Ra,
Pantytec,
Johnny Osbourne,
Carl Craig,
The Wake,
Piero Umiliani,
Grandmaster Flash,
Joe Finger,
The Kinks,
Ken Boothe,
the Normal,
Youth Brigade,
Judy Mowatt,
E-Dancer,
Public Enemy,
Crime,
Fatback Band,
Morten Harket,
Kas Product,
Alton Ellis,
Pussy Galore,
The Beau Brummels,
The Young Rascals,
Bad Manners,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.