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 Estonia and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Portland 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 The Golliwogs to the techno kids.
I played it at the Crocodile.
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 Doobie Brothers. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin 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?
One Last Wish,
Whodini,
Strawberry Alarm Clock,
Banda Bassotti,
Unrelated Segments,
Visage,
The Associates,
These Immortal Souls,
Aswad,
David McCallum,
Joyce Sims,
Terrestrial Tones,
Kauko Röyhkä ja Narttu,
Rhythim Is Rhythim,
Barrington Levy,
The Detroit Cobras,
Babytalk,
Scott Walker,
The Jesus and Mary Chain,
Newcleus,
Kurtis Blow,
Mary Jane Girls,
Symarip,
Heaven 17,
Peter & Gordon,
Shuggie Otis,
Magma,
The Saints,
Isaac Hayes,
Ronan,
Urselle,
Gong,
Ajijia Myrayebe,
Hardrive,
Roy Ayers Ubiquity,
The Selecter,
Reagan Youth,
The Buckinghams,
Second Layer,
Minor Threat,
Crispian St. Peters,
Davy DMX,
X-101,
Pharoah Sanders,
Groovy Waters,
Quando Quango,
Scrapy,
Bill Near,
Crispy Ambulance,
Rhythm & Sound,
Notorious BIG live in Amsterdam,
Gil Scott-Heron & Brian Jackson,
Pantaleimon,
The Offenders,
The Slackers,
Alton Ellis,
Scratch Acid,
Bizarre Inc.,
Vladislav Delay,
Red Lorry Yellow Lorry,
Sun Ra Arkestra,
Ultimate Spinach,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.