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 Dominica and from Lagos.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 De La Soul & Jungle Brothers to the techno kids.
I played it at Trash.
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 Archie Shepp. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar 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 rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Siouxsie and the Banshees,
The Smiths,
Susan Cadogan,
The Slits,
Monks,
Oppenheimer Analysis,
Electric Light Orchestra,
New Age Steppers,
Grandmaster Flash and the Furious Five,
Marc Romboy vs. Booka Shade,
The Gun Club,
Joy Division,
Niagra,
cv313,
Gian Franco Pienzio,
Soft Cell,
Lower 48,
Colin Newman,
Khruangbin,
F. McDonald,
Icehouse,
Bronski Beat,
Darondo,
Monolake,
Skriet,
Anakelly,
Godley & Creme,
Public Image Ltd.,
Janne Schatter,
Lonnie Liston Smith,
Teenage Jesus and the Jerks,
Public Enemy,
Procol Harum,
The Cramps,
Avey Tare's Slasher Flicks,
Livin' Joy,
Accadde A,
Jerry's Kids,
Eric Copeland,
Parry Music,
Ornette Coleman,
Gastr Del Sol,
Vainqueur,
Ossler,
UT,
Sunsets and Hearts,
Isaac Hayes,
The Monks,
JFA,
Moss Icon,
Robert Wyatt,
Ultravox,
Drexciya,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Babytalk,
Peter Gordon & Love of Life Orchestra,
The Electric Prunes,
The Five Americans,
Ultimate Spinach,
Magazine,
Average White Band,
Outsiders, Outsiders, Outsiders, Outsiders.
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.