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 Iceland and from Tehran.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1979.
I'm losing my edge.
To all the kids in Calgary and Toronto.
I'm losing my edge to the art-school Madrid 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the jazz 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 Althea and Donna. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every The Monochrome Set 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Howard Jones record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Connie Case,
Magma,
Todd Rundgren,
Depeche Mode,
The Men They Couldn't Hang,
Faust,
L. Decosne,
Loose Ends,
Robert Hood,
Kas Product,
The Associates,
A Certain Ratio,
Wighnomy Brothers & Robag Wruhme,
The Gladiators,
The Residents,
The Walker Brothers,
Silicon Teens,
Leonard Cohen,
Camberwell Now,
Wally Richardson,
Joe Finger,
Guru Guru,
The Stooges,
Skriet,
Trumans Water,
Stockholm Monsters,
Erasure,
Angels of Light & Akron/Family,
James Chance & The Contortions,
Scientists,
The Raincoats,
Scratch Acid,
Hashim,
Nick Cave & The Bad Seeds,
Judy Mowatt,
The Blues Magoos,
Susan Cadogan,
Yaz,
Grauzone,
Gil Scott-Heron and Jamie xx,
The Real Kids,
Warsaw,
Rahsaan Roland Kirk,
Vainqueur,
Joey Negro,
Neu!,
Amon Düül,
Royal Trux,
Hasil Adkins,
Eden Ahbez,
Marine Girls,
Oblivians,
Quantec,
Fluxion,
Sandy B,
Liaisons Dangereuses,
Nick Fraelich,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.