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 Tonga and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron 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 A Certain Ratio to the punk kids.
I played it at Cafe Wha.
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 Newcleus. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a marimba 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 guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Electric Light Orchestra,
Liliput,
OOIOO,
48th St. Collective,
the Soft Cell,
Be Bop Deluxe,
Dark Day,
Dorothy Ashby,
Urselle,
Boogie Down Productions,
Derrick May,
Pantaleimon,
Grey Daturas,
Fatback Band,
Kas Product,
Pete Rock & C.L. Smooth,
Gang Starr,
Terrestrial Tones,
Yellowson,
Moss Icon,
Thinking Fellers Union Local 282,
MDC,
The Toasters,
Fela Kuti,
Jesper Dahlbäck,
The Victims,
Mandrill,
Robert Hood,
Chris Corsano,
The Cramps,
Bush Tetras,
Sunsets and Hearts,
New York Dolls,
Matthew Bourne,
The Kinks,
Lalann,
Marmalade,
Aswad,
Jesper Dahlback,
Peter Gordon & Love of Life Orchestra,
R.M.O.,
Vainqueur,
Howard Jones,
Section 25,
L. Decosne,
The Moleskins,
Nik Kershaw,
The Five Americans,
The Count Five,
John Coltrane,
The Slits,
Yaz,
Alton Ellis,
Red Lorry Yellow Lorry,
Ultimate Spinach,
Interpol,
The Standells,
Suicide,
Nico,
Ken Boothe,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.