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 Brazil and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Cairo 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro 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 Yazoo to the electroclash 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 Kool Moe Dee. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rap 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 808 and a harpsichord 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 clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Faraquet,
kango's stein massive,
Lalann,
Cameo,
The Toasters,
Morten Harket,
Yellowson,
Jimmy McGriff,
The Raincoats,
Larry & the Blue Notes,
Half Japanese,
Bronski Beat,
Cybotron,
The Flesh Eaters,
Y Pants,
Los Fastidios,
The Buckinghams,
Popol Vuh,
Ralphi Rosario,
Public Image Ltd.,
Vladislav Delay,
Amon Düül,
Cymande,
Nas,
Brick,
The Neon Judgement,
Zapp,
Zero Boys,
Echospace,
The Blackbyrds,
Gary Puckett & The Union Gap,
Soul II Soul,
Ken Boothe,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dorothy Ashby,
Electric Prunes,
It's A Beautiful Day,
Rapeman,
Model 500,
Lizzy Mercier Descloux,
Marc Almond,
Dead Boys,
Nils Olav,
Kauko Röyhkä ja Narttu,
Roxy Music,
Marc Romboy vs. Booka Shade,
Gang Gang Dance,
FM Einheit,
Symarip,
These Immortal Souls,
Aaron Thompson,
Ornette Coleman,
Boogie Down Productions,
Excepter,
Ultra Naté,
Au Pairs,
Thinking Fellers Union Local 282,
The Dave Clark Five,
Tres Demented,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.