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 Albania and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Audionom to the crunk 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 R.M.O.. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Thee Headcoats 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
The Buckinghams,
Jesper Dahlbäck,
Soft Machine,
Bootsy Collins,
Quando Quango,
The Moleskins,
MDC,
Pole,
Godley & Creme,
Oppenheimer Analysis,
The Standells,
Ken Boothe,
The Neon Judgement,
the Fania All-Stars,
The Offenders,
The Beau Brummels,
Warsaw,
Boogie Down Productions,
Ohio Players,
Cameo,
China Crisis,
Trumans Water,
Flipper,
Dead Boys,
John Lydon,
Wings,
Robert Görl,
The Doors,
Schoolly D,
KRS-One,
JFA,
David Axelrod,
Swell Maps,
Lightning Bolt,
H. Thieme,
Maleditus Sound,
Pierre Henry,
Depeche Mode,
Gastr Del Sol,
Hasil Adkins,
Neil Young & Crazy Horse,
Lonnie Liston Smith,
Davy DMX,
Stereo Dub,
Masters at Work,
June of 44,
Johnny Clarke,
Sandy B,
Mo-Dettes,
Animal Collective,
Kevin Saunderson,
Eyeless In Gaza,
Rhythm & Sound,
Infiniti,
Fifty Foot Hose,
Pete Rock & C.L. Smooth,
Panda Bear,
Monks,
Judy Mowatt,
Darondo,
Matthew Bourne,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.