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 Yemen and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 Buzzcocks practice in a loft in Bolton.
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 Soulsonic Force to the funk 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 Grandmaster Flash. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Ponytail,
Juan Atkins,
The Martian,
Kings Of Tomorrow,
The Smoke,
John Holt,
Pulsallama,
Agent Orange,
June Days,
Notorious Big And Bone Thugs,
Lou Christie,
Art Ensemble Of Chicago,
The Mummies,
John Cale,
Harry Pussy,
Neil Young & Crazy Horse,
This Heat,
The Monochrome Set,
Zero Boys,
Leonard Cohen,
Interpol,
Spoonie Gee,
Livin' Joy,
The Men They Couldn't Hang,
Silicon Teens,
the Soft Cell,
Pharaoh Sanders and the Fire Engines,
Rhythm & Sound,
Liliput,
Rhythim Is Rhythim,
Gian Franco Pienzio,
Ultra Naté,
Barclay James Harvest,
Stockholm Monsters,
Electric Light Orchestra,
The Smiths,
The American Breed,
Saccharine Trust,
Grandmaster Flash and the Furious Five,
The Searchers,
Gabor Szabo,
DeepChord presents Echospace,
Gang Green,
Qualms,
Rod Modell,
The Chocolate Watch Band,
Funky Four + One,
The Offenders,
Au Pairs,
Aural Exciters,
Altered Images,
Howard Jones,
The Raincoats,
F. McDonald,
Porter Ricks,
Arthur Verocai,
cv313, cv313, cv313, cv313.
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.