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 Comoros and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Bob Dylan to the rock 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 Sound Behaviour. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every The Monochrome Set 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
The Move,
Drive Like Jehu,
Reuben Wilson,
Funky Four + One,
The Standells,
Newcleus,
The Star Department,
Skriet,
David McCallum,
Roger Hodgson,
Barclay James Harvest,
Maurizio,
Kerrie Biddell,
Pagans,
Peter and Kerry,
Robert Wyatt,
New York Dolls,
Gerry Rafferty,
The Blackbyrds,
Arab on Radar,
Smog,
Procol Harum,
Adolescents,
The Gap Band,
Cabaret Voltaire,
the Association,
B.T. Express,
Boogie Down Productions,
Ten City,
Nick Cave & The Bad Seeds,
Gang Green,
The Seeds,
John Cale,
Ohio Players,
The Human League,
Darondo,
Supertramp,
Sparks,
Sonic Youth,
The Fugs,
Todd Terry,
The Gladiators,
Sonny Sharrock,
Marc Almond,
Suburban Knight,
Ossler,
Gabor Szabo,
Television,
Eric Copeland,
Television Personalities,
Kaleidoscope,
Gil Scott Heron,
The Monochrome Set,
Zero Boys,
H. Thieme,
The Music Machine,
Kool G Rap & DJ Polo,
Cymande,
Arthur Verocai,
Avey Tare's Slasher Flicks,
Rites of Spring,
Rapeman, Rapeman, Rapeman, Rapeman.
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.