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 Afghanistan and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Paris 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 Bronski Beat practice in a loft in Brixton.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Pylon to the jazz 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 De La Soul & Jungle Brothers. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a snare 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Sällskapet,
Hoover,
The Pop Group,
Captain Beefheart & His Magic Band,
Patti Smith,
Sound Behaviour,
Funky Four + One,
Amon Düül II,
Ken Boothe,
Soft Machine,
CMW,
Flamin' Groovies,
Pole,
Josef K,
Freddie Wadling,
Pulsallama,
Masters at Work,
Ludus,
Blossom Toes,
Trumans Water,
Roy Ayers Ubiquity,
Black Sheep,
Orchestral Manoeuvres in the Dark,
Tom Boy,
Vladislav Delay,
Radiopuhelimet,
Man Eating Sloth,
Gregory Isaacs,
Girls At Our Best!,
Nation of Ulysses,
Shuggie Otis,
E-Dancer,
the Association,
Moby Grape,
The Pretty Things,
Nico,
The Toasters,
Albert Ayler,
Infiniti,
Tomorrow,
Interpol,
Los Fastidios,
The Trojans,
Moebius,
Aural Exciters,
Public Enemy,
The Gories,
Reagan Youth,
The Golliwogs,
Roy Ayers,
Thee Headcoats,
Bush Tetras,
Rekid,
Simply Red,
Pere Ubu,
Boz Scaggs,
Donny Hathaway,
Dave Gahan,
Outsiders,
Scratch Acid,
Bill Near, Bill Near, Bill Near, Bill Near.
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.