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 Togo and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Halifax 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Chrome to the grunge kids.
I played it at the Roxy.
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 Pussy Galore. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord 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 arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Monochrome Set,
Negative Approach,
Thinking Fellers Union Local 282,
Sun Ra Arkestra,
Anakelly,
Peter and Kerry,
Vainqueur,
Crash Course in Science,
EPMD,
Severed Heads,
Buzzcocks,
The Fire Engines,
New York Dolls,
Youth Brigade,
Black Sheep,
X-Ray Spex,
Fad Gadget,
the Soft Cell,
The Monks,
Dark Day,
Faust,
Todd Terry,
Nick Cave & The Bad Seeds,
Average White Band,
Pharoah Sanders,
Soft Machine,
Smog,
Television,
Cybotron,
Moebius,
John Holt,
Roxette,
Infiniti,
Alison Limerick,
Erykah Badu,
Eden Ahbez,
Johnny Osbourne,
Depeche Mode,
One Last Wish,
The Jesus and Mary Chain,
Brothers Johnson,
the Bar-Kays,
Max Romeo,
Matthew Bourne,
Easy Going,
Metal Thangz,
Scratch Acid,
The Shadows of Knight,
Porter Ricks,
Röyhkä ja Rättö ja Lehtisalo,
Massinfluence,
Livin' Joy,
Inner City,
MC5,
The Busters,
Freddie Wadling,
Pete Rock & C.L. Smooth,
Andrew Ashong & Theo Parrish,
ABC, ABC, ABC, ABC.
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.