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 Bosnia Herzegovina and from Lille.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Oppenheimer Analysis to the funk kids.
I played it at the Spitz.
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 cv313. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Davy DMX 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba 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 spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Sly & The Family Stone,
Idris Muhammad,
Lou Christie,
Brass Construction,
Delon & Dalcan,
Röyhkä ja Rättö ja Lehtisalo,
The Move,
Selector Dub Narcotic,
Kerri Chandler,
London Community Gospel Choir,
Leonard Cohen,
Dawn Penn,
Average White Band,
The Golliwogs,
Louis and Bebe Barron,
The Last Poets,
Electric Light Orchestra,
the Swans,
Colin Newman,
The Fall,
Royal Trux,
The J.B.'s,
Jacob Miller,
Dead Boys,
Ludus,
Freddie Wadling,
Make Up,
Marine Girls,
Second Layer,
Major Organ And The Adding Machine,
Byron Stingily,
Justin Hinds & The Dominoes,
Todd Terry,
Symarip,
Infiniti,
the Slits,
Laurel Aitken,
Fort Wilson Riot,
The Shadows of Knight,
The Gladiators,
Cybotron,
The Mighty Diamonds,
Soulsonic Force,
Sonic Youth,
John Lydon,
Faust,
Monolake,
Smog,
Malaria!,
The Moody Blues,
Whodini,
The Electric Prunes,
Robert Wyatt,
Pole,
Jeru the Damaja,
New York Dolls,
DeepChord presents Echospace,
Cecil Taylor,
Lou Reed & Metallica,
Scientists,
Severed Heads,
Excepter, Excepter, Excepter, Excepter.
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.