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 Iran and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Spokane and Columbus.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Rhythim Is Rhythim to the techno kids.
I played it at the Hacienda.
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 Ralphi Rosario. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes 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?
Index,
Fugazi,
Organ,
The Doors,
Surgeon,
Technova,
Robert Wyatt,
DeepChord presents Echospace,
Angry Samoans,
Au Pairs,
Marvin Gaye,
Yusef Lateef,
Scott Walker,
Toni Rubio,
Duran Duran,
Dave Gahan,
Hasil Adkins,
Steve Hackett,
Donny Hathaway,
Agent Orange,
Slick Rick,
Arthur Verocai,
Joyce Sims,
Television,
Gian Franco Pienzio,
Stockholm Monsters,
Outsiders,
The Men They Couldn't Hang,
Be Bop Deluxe,
Lebanon Hanover,
Bobby Hutcherson,
The Standells,
Fort Wilson Riot,
Absolute Body Control,
The Golliwogs,
Supertramp,
Anthony Braxton,
Bluetip,
Bad Manners,
U.S. Maple,
The Monks,
It's A Beautiful Day,
ABBA,
Erykah Badu,
Richard Hell and the Voidoids,
Cymande,
The Mojo Men,
Minnie Riperton,
Groovy Waters,
Ituana,
Pharoah Sanders,
Kevin Saunderson,
Robert Görl,
Siglo XX,
Frankie Knuckles,
Davy DMX,
Skarface,
China Crisis,
Deutsch Amerikanische Freundschaft,
Japan,
Tropical Tobacco,
Iggy Pop,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.