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 Hungary and from Mexico City.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Robert Görl to the punk 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 The Invisible. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a rhodes 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 chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Public Enemy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Hood,
Liaisons Dangereuses,
New York Dolls,
The Count Five,
Essential Logic,
Half Japanese,
Mary Jane Girls,
Hoover,
Wighnomy Brothers & Robag Wruhme,
PIL,
Deakin,
The Blackbyrds,
Sun Ra,
Electric Prunes,
the Bar-Kays,
Roy Ayers,
Pharoah Sanders,
The Move,
Rapeman,
Chrome,
Surgeon,
F. McDonald,
Bobby Byrd,
Scratch Acid,
Bad Manners,
Harry Pussy,
The Knickerbockers,
The Alarm Clocks,
UT,
The Mojo Men,
Albert Ayler,
Icehouse,
New Age Steppers,
Make Up,
Bill Wells,
Public Image Ltd.,
The Seeds,
Eddi Front,
Girls At Our Best!,
Lucky Dragons,
Gichy Dan,
Notorious Big And Bone Thugs,
Ludus,
Panda Bear,
Ornette Coleman,
Dual Sessions,
Throbbing Gristle,
The Invisible,
Quando Quango,
Von Mondo,
Freddie Wadling,
Johnny Clarke,
Radiohead,
Dark Day,
Man Parrish,
The Smoke,
Jeru the Damaja,
Monolake,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.