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 Sri Lanka and from Madrid.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Warsaw to the punk kids.
I played it at CBGB's.
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 Bauhaus. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Glenn Branca 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer 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 spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Sad Lovers and Giants,
Avey Tare,
Bootsy Collins,
Bobby Hutcherson,
The Victims,
Yazoo,
B.T. Express,
Eric Dolphy,
Bob Dylan,
The Trojans,
The Music Machine,
Surgeon,
Unrelated Segments,
Rites of Spring,
Sister Nancy,
Blancmange,
Barclay James Harvest,
Jeru the Damaja,
Lindisfarne,
Tears for Fears,
The Wake,
Sound Behaviour,
Goldenarms,
T.S.O.L.,
Arab on Radar,
Todd Terry,
New Age Steppers,
Dorothy Ashby,
Strawberry Alarm Clock,
Thee Headcoats,
The Dead C,
Bobbi Humphrey,
the Bar-Kays,
Moss Icon,
Kool G Rap & DJ Polo,
Cluster,
CMW,
Derrick May,
New York Dolls,
Liliput,
Colin Newman,
Panda Bear,
PIL,
Fluxion,
X-102,
Glambeats Corp.,
Jerry Gold Smith,
X-101,
Quantec,
Matthew Halsall,
Duran Duran,
the Slits,
The Busters,
Fat Boys,
Gang Gang Dance,
Nirvana,
Deakin,
The Slits,
Swell Maps,
The Leaves,
Jesper Dahlback,
kango's stein massive,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.