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 Serbia and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Chrome to the punk kids.
I played it at Trash.
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 Aloha Tigers. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Yaz 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 a spring reverb and an oboe 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Sun Ra Arkestra,
Dawn Penn,
The Sonics,
The Toasters,
Peter & Gordon,
Metal Thangz,
The Raincoats,
Average White Band,
Parry Music,
The Motions,
Marmalade,
The Pretty Things,
Sister Nancy,
Neil Young & Crazy Horse,
K-Klass,
The Blackbyrds,
The Dead C,
Lindisfarne,
Urselle,
Louis and Bebe Barron,
Agitation Free,
Siouxsie and the Banshees,
Quando Quango,
Matthew Bourne,
Rotary Connection,
Radiohead,
Black Sheep,
D'Angelo,
Erykah Badu,
The Fortunes,
Radiopuhelimet,
the Bar-Kays,
Sight & Sound,
Bobby Sherman,
The Busters,
Rosa Yemen,
Lower 48,
The Trojans,
Wighnomy Brothers & Robag Wruhme,
Skarface,
Red Lorry Yellow Lorry,
June of 44,
OOIOO,
The Angels of Light,
Funky Four + One,
Throbbing Gristle,
The Gap Band,
Big Daddy Kane,
Country Teasers,
Dorothy Ashby,
Glenn Branca,
Goldenarms,
The Red Krayola,
Pete Rock & C.L. Smooth,
Quantec,
Joey Negro,
Tim Buckley,
David Bowie,
Los Fastidios,
The J.B.'s,
Sarah Menescal,
Lou Christie,
Malaria!, Malaria!, Malaria!, Malaria!.
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.