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 Colombia and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 Can practice in a loft in Cologne.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 T. Rex to the dance 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 Goldenarms. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a harpsichord 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 marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Agent Orange,
Japan,
Ituana,
Groovy Waters,
Stetsasonic,
Reuben Wilson,
Tropical Tobacco,
Art Ensemble Of Chicago,
Terror Squad Feat. Camron,
the Soft Cell,
David Axelrod,
Thee Headcoats,
Lou Christie,
Big Daddy Kane,
Country Joe & The Fish,
Kenny Larkin,
LL Cool J,
The Trojans,
Gil Scott Heron,
Susan Cadogan,
Wire,
Los Fastidios,
The Kinks,
Ultramagnetic MC's,
Excepter,
Section 25,
Marshall Jefferson,
the Association,
Gian Franco Pienzio,
The Slits,
Swell Maps,
Quadrant,
the Swans,
Deutsch Amerikanische Freundschaft,
James Chance & The Contortions,
Yaz,
Lee Hazlewood,
Avey Tare's Slasher Flicks,
The Red Krayola,
The Cure,
Rowland S Howard / Lydia Lunch,
Roxy Music,
Althea and Donna,
Pantytec,
The Blackbyrds,
Warren Ellis,
Half Japanese,
John Coltrane,
Soulsonic Force,
L. Decosne,
Fela Kuti,
Anthony Braxton,
The Zeros,
Beasts of Bourbon,
Icehouse,
James White and The Blacks,
Jeff Mills,
Pete Rock & C.L. Smooth,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.