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 Uzbekistan and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Paris and Bologna.
I'm losing my edge to the art-school Toronto 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 Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Con Funk Shun to the funk kids.
I played it at the Astoria.
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 Black Bananas. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a clarinet 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Susan Cadogan,
Nils Olav,
Delon & Dalcan,
the Slits,
Sex Pistols,
Harpers Bizarre,
Grandmaster Flash and the Furious Five,
Bootsy's Rubber Band,
One Last Wish,
Crime,
Jawbox,
The Barracudas,
Make Up,
Kurtis Blow,
Major Organ And The Adding Machine,
Brick,
Mission of Burma,
Tim Buckley,
Hasil Adkins,
Fat Boys,
Black Sheep,
Ronan,
Sight & Sound,
Drive Like Jehu,
The Doors,
Pharoah Sanders,
Icehouse,
The Music Machine,
Dual Sessions,
Eurythmics,
Index,
ABC,
Moss Icon,
Altered Images,
Todd Terry,
The Offenders,
Surgeon,
Donny Hathaway,
Justin Hinds & The Dominoes,
Ituana,
Agent Orange,
Max Romeo,
Sparks,
Bang on a Can All-Stars,
Archie Shepp,
Derrick May,
Spandau Ballet,
Scan 7,
Pere Ubu,
Lebanon Hanover,
Lakeside,
E-Dancer,
Steve Hackett,
Rod Modell,
Minor Threat,
The Black Dice,
Hot Snakes,
The Raincoats,
Notorious BIG live in Amsterdam,
The Real Kids,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.