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 Moldova and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Milan.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum 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 Birthday Party to the crunk kids.
I played it at the 40 Watt.
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 Grass Roots. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare 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 mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Ossler,
Gil Scott Heron,
T.S.O.L.,
Pierre Henry,
Rhythm & Sound,
Fad Gadget,
Oneida,
Howard Jones,
Curtis Mayfield,
Circle Jerks,
Swans,
Juan Atkins,
Albert Ayler,
Skaos,
Beasts of Bourbon,
Blake Baxter,
Japan,
Lee Hazlewood,
Derrick Morgan,
Ultravox,
Delta 5,
The Blues Magoos,
Crispy Ambulance,
Archie Shepp,
Pharaoh Sanders and the Fire Engines,
Amon Düül II,
Sad Lovers and Giants,
Jerry Gold Smith,
Jesper Dahlbäck,
Tropical Tobacco,
Manfred Mann's Earth Band,
The Victims,
The Smiths,
Visionaries,LMNO, T- Love & Iriscience,
Ken Boothe,
Outsiders,
Yazoo,
Max Romeo,
Fatback Band,
Ralphi Rosario,
Maleditus Sound,
Peter and Kerry,
The Gladiators,
Shuggie Otis,
OOIOO,
Chris & Cosey,
Jeff Mills,
AZ,
This Heat,
Rites of Spring,
Bluetip,
Agent Orange,
Banda Bassotti,
Supertramp,
Television Personalities,
The Tremeloes,
June Days,
Wings, Wings, Wings, Wings.
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.