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 Iran and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Tres Demented to the techno kids.
I played it at the Troubador.
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 Junior Murvin. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin 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 güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Cameo,
Pharaoh Sanders and the Fire Engines,
8 Eyed Spy,
Marshall Jefferson,
Avey Tare's Slasher Flicks,
Kings Of Tomorrow,
Kango’s Stein Massive,
The Trojans,
Peter & Gordon,
Crispian St. Peters,
Main Source,
Roy Ayers Ubiquity,
Gian Franco Pienzio,
Boz Scaggs,
Surgeon,
Terry Callier,
Thee Headcoats,
The Divine Comedy,
The Sound,
Ten City,
Man Eating Sloth,
Flipper,
The Blackbyrds,
The Modern Lovers,
Interpol,
Harry Pussy,
Mark Hollis,
Joe Finger,
Alison Limerick,
Tears for Fears,
Lalann,
Adolescents,
DeepChord presents Echospace,
Public Enemy,
Oneida,
Darondo,
Kas Product,
Ralphi Rosario,
Glambeats Corp.,
Warren Ellis,
Blancmange,
Ohio Players,
Neil Young,
Organ,
Ultimate Spinach,
Barrington Levy,
The Slits,
Motorama,
Vaughan Mason & Crew,
Gang Green,
Ornette Coleman,
Kayak,
Kerri Chandler,
Excepter,
The Residents,
Ultra Naté,
Bang on a Can All-Stars,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.