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 Guyana and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Taipei and Toronto.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Grass Roots to the grunge kids.
I played it at the Astoria.
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 Gang of Four. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare 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 marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Graham Central Station,
Deadbeat,
Kango’s Stein Massive,
Bizarre Inc.,
Albert Ayler,
Interpol,
Gian Franco Pienzio,
DeepChord presents Echospace,
Hasil Adkins,
Dead Boys,
AZ,
Rosa Yemen,
Bill Near,
Lungfish,
Radiopuhelimet,
Chris Corsano,
This Heat,
Jawbox,
Ice-T,
Tommy Roe,
Rites of Spring,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cameo,
Quando Quango,
U.S. Maple,
F. McDonald,
The Cowsills,
Buzzcocks,
Neil Young & Crazy Horse,
Schoolly D,
The Sisters of Mercy,
Dorothy Ashby,
Judy Mowatt,
Louis and Bebe Barron,
Barbara Tucker,
Ultramagnetic MC's,
Scott Walker + Sunn O))),
Strawberry Alarm Clock,
Visage,
Severed Heads,
Barclay James Harvest,
Lonnie Liston Smith,
The Names,
Alton Ellis,
Radiohead,
Black Flag,
Fort Wilson Riot,
Reagan Youth,
The Gun Club,
Television Personalities,
The Pop Group,
Terror Squad Feat. Camron,
Ultravox,
ABC,
Brick,
Fugazi,
Tears for Fears,
Crispy Ambulance,
The Fire Engines,
Roy Ayers Ubiquity,
The Victims, The Victims, The Victims, The Victims.
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.