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 Macedonia and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Woodstock 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar 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 Bill Near to the dance kids.
I played it at the Hacienda.
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 Pagans. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer 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 theremin.
I hear that you and your band have sold your theremin 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?
Magma,
Crime,
Youth Brigade,
The Flesh Eaters,
Saccharine Trust,
Crooked Eye,
Byron Stingily,
David Axelrod,
Marc Almond,
Icehouse,
Crispy Ambulance,
Siouxsie and the Banshees,
These Immortal Souls,
Deutsch Amerikanische Freundschaft,
Rod Modell,
Mission of Burma,
Terrestrial Tones,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
Q65,
Super Lover Cee & Casanova Rud,
Yaz,
Cymande,
The Residents,
The Fugs,
Grey Daturas,
Brick,
Lalo Schifrin,
Blossom Toes,
Suicide,
Ornette Coleman,
Sly & The Family Stone,
the Soft Cell,
Gang of Four,
Brand Nubian,
The Modern Lovers,
Robert Hood,
The Black Dice,
Peter Gordon & Love of Life Orchestra,
Oneida,
Sad Lovers and Giants,
Visage,
The Standells,
Susan Cadogan,
Lou Christie,
Lyres,
Magazine,
Johnny Osbourne,
The Durutti Column,
Soul Sonic Force,
Newcleus,
Deadbeat,
The Sound,
MC5,
Circle Jerks,
The Cramps,
Yusef Lateef,
Country Teasers,
Matthew Bourne,
Gerry Rafferty,
Lou Reed & John Cale,
The Vogues,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.