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 Canada and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1966 to 1978.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 Brass Construction to the grunge kids.
I played it at the Spitz.
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 The Human League tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes 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 oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Masters at Work,
Liliput,
Lou Reed,
The Trojans,
New Order,
Lee Hazlewood,
The Associates,
Chris Corsano,
Pussy Galore,
Dr. Dre and Snoop Doggy Dog,
Echo & the Bunnymen,
Fat Boys,
The New Christs,
Cybotron,
Sun City Girls,
Pete Rock & C.L. Smooth,
Bobby Sherman,
Godley & Creme,
Eli Mardock,
Ronnie Foster,
Tim Buckley,
The Wake,
Trumans Water,
Darondo,
The Monks,
Heavy D & The Boyz,
Toni Rubio,
Yusef Lateef,
Con Funk Shun,
Funkadelic,
Average White Band,
The Cowsills,
The Cramps,
Urselle,
Marshall Jefferson,
John Coltrane,
Rufus Thomas,
Throbbing Gristle,
Joe Smooth,
Schoolly D,
Public Enemy,
Gerry Rafferty,
Tres Demented,
Louis and Bebe Barron,
Jerry's Kids,
Minnie Riperton,
the Germs,
Unrelated Segments,
Rhythm & Sound,
Glenn Branca,
X-Ray Spex,
Girls At Our Best!,
Thinking Fellers Union Local 282,
Scrapy,
Goldenarms,
Unwound,
Brand Nubian,
a-ha,
Johnny Osbourne,
The Smoke,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.