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 Mongolia and from Accra.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Bremen 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator 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 Girls At Our Best! to the dance kids.
I played it at CBGB's.
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 Model 500. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Minnie Riperton 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 '90s.
I hear you're buying an arpeggiator and a 808 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 organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Ludus,
Camron Feat. Memphis Bleek And Beenie Seigel,
Curtis Mayfield,
Kas Product,
Reagan Youth,
Matthew Bourne,
U.S. Maple,
Con Funk Shun,
The Detroit Cobras,
Kurtis Blow,
Jerry's Kids,
Alison Limerick,
T. Rex,
ABC,
Wire,
The Monks,
Electric Light Orchestra,
Harry Pussy,
Skriet,
Anakelly,
The American Breed,
Rotary Connection,
Avey Tare's Slasher Flicks,
Gang Green,
The Mojo Men,
The Chocolate Watch Band,
Bush Tetras,
LL Cool J,
The Offenders,
Yellowson,
Animal Collective,
Ohio Players,
Massinfluence,
Blossom Toes,
London Community Gospel Choir,
Scan 7,
Nils Olav,
The Litter,
The Names,
Anthony Braxton,
The Fortunes,
Minnie Riperton,
Blake Baxter,
Pet Shop Boys,
Kool G Rap & DJ Polo,
Lungfish,
Bill Near,
Lee Hazlewood,
The Gap Band,
Procol Harum,
Interpol,
Moebius,
Heaven 17,
Zapp,
Hashim,
48th St. Collective,
The Fuzztones,
Robert Görl,
Girls At Our Best!,
the Association,
Gian Franco Pienzio,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.