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 Grenada and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1973.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Cairo 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Marmalade to the rap kids.
I played it at the Roxy.
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 X-102. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 a sitar 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Agent Orange,
The Kinks,
Cheater Slicks,
Procol Harum,
Popol Vuh,
Ash Ra Tempel,
Lebanon Hanover,
Janne Schatter,
Sight & Sound,
Sixth Finger,
Heavy D & The Boyz,
Magazine,
Second Layer,
The Dave Clark Five,
Sister Nancy,
The Offenders,
The Names,
The Gun Club,
the Sonics,
Negative Approach,
Sun Ra Arkestra,
Surgeon,
Thompson Twins,
U.S. Maple,
Rhythm & Sound,
Peter and Kerry,
Bootsy's Rubber Band,
Von Mondo,
Wolf Eyes,
Jeff Mills,
The Knickerbockers,
Siglo XX,
Erasure,
The Cure,
Funkadelic,
New York Dolls,
Nick Cave & The Bad Seeds,
Donald Byrd,
Crime,
Gastr Del Sol,
Blancmange,
Althea and Donna,
Q65,
Wally Richardson,
Al Stewart,
Sound Behaviour,
Darondo,
Dead Boys,
The Evens,
The Flesh Eaters,
Audionom,
Ten City,
Sad Lovers and Giants,
Swell Maps,
Pagans,
The Birthday Party,
Laurel Aitken,
E-Dancer,
The Music Machine,
Mantronix, Mantronix, Mantronix, Mantronix.
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.