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 El Salvador and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Madrid 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 marimba 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 Mark Hollis to the jazz kids.
I played it at the Astoria.
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 Marmalade. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator 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 snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
The Gun Club,
Black Sheep,
Althea and Donna,
Shuggie Otis,
The New Christs,
Sonny Sharrock,
Stetsasonic,
The Searchers,
Shoche,
Eurythmics,
ABC,
Fear,
Larry & the Blue Notes,
Newcleus,
Derrick Morgan,
The Flesh Eaters,
The Motions,
Aaron Thompson,
New York Dolls,
Freddie Wadling,
The Dirtbombs,
MDC,
Bobby Byrd,
Underground Resistance,
Harmonia,
The Fall,
Nico,
Sound Behaviour,
Siglo XX,
Electric Light Orchestra,
La Düsseldorf,
DNA,
Letta Mbulu,
Boogie Down Productions,
Kool G Rap & DJ Polo,
Sun City Girls,
Lindisfarne,
Be Bop Deluxe,
Wally Richardson,
Funkadelic,
Bootsy's Rubber Band,
Kings Of Tomorrow,
Hardrive,
Icehouse,
Dr. Dre and Snoop Doggy Dog,
Symarip,
Dual Sessions,
Pete Rock & C.L. Smooth,
Fatback Band,
Rakim,
EPMD,
A Flock of Seagulls,
Goldenarms,
Outsiders,
Mission of Burma,
Black Pus,
Organ,
the Association,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.