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 Haiti and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Graham Central Station to the grime kids.
I played it at Cafe Wha.
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 Warsaw. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin 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 sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Ken Boothe,
Judy Mowatt,
Man Parrish,
The Invisible,
AZ,
Swell Maps,
The Selecter,
Lakeside,
Hasil Adkins,
Johnny Clarke,
Mad Mike,
The Sisters of Mercy,
Faust,
Magma,
Lou Christie,
The Happenings,
The Star Department,
Alton Ellis,
Pere Ubu,
Lee Hazlewood,
R.M.O.,
Susan Cadogan,
Lebanon Hanover,
Rotary Connection,
Eric B and Rakim,
Patti Smith,
Can,
Sister Nancy,
The Moody Blues,
Pulsallama,
The Doors,
Lou Reed,
the Normal,
London Community Gospel Choir,
Suburban Knight,
Isaac Hayes,
The Tremeloes,
The Toasters,
Marvin Gaye,
Sly & The Family Stone,
Echo & the Bunnymen,
Kurtis Blow,
John Foxx,
Scott Walker,
Con Funk Shun,
Deadbeat,
The Seeds,
Lafayette Afro Rock Band,
Simply Red,
The Durutti Column,
Lucky Dragons,
Spoonie Gee,
Khruangbin,
Organ,
Roxette,
The Blues Magoos,
Gregory Isaacs,
Young Marble Giants,
Rahsaan Roland Kirk,
Ponytail,
Matthew Halsall,
Hardrive,
Yaz, Yaz, Yaz, Yaz.
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.