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 Suriname and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1971.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 The Real Kids to the crunk kids.
I played it at the Roxy.
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 Second Layer. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal techno 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 an oboe 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 sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
The Velvet Underground,
Mark Hollis,
Sugar Minott,
the Soft Cell,
Lyres,
The Moleskins,
Anthony Braxton,
Major Organ And The Adding Machine,
Jimmy McGriff,
Albert Ayler,
Sex Pistols,
Jacob Miller,
Adolescents,
Beasts of Bourbon,
David McCallum,
Symarip,
Minutemen,
Pharaoh Sanders and the Fire Engines,
It's A Beautiful Day,
Donald Byrd,
Surgeon,
Vainqueur,
China Crisis,
Vaughan Mason & Crew,
The Doobie Brothers,
The Saints,
The Blues Magoos,
Radio Birdman,
10cc,
Gil Scott-Heron & Brian Jackson,
Don Cherry,
Traffic Nightmare,
Barry Ungar,
Judy Mowatt,
Jeff Mills,
The Cure,
Pole,
The Kinks,
Negative Approach,
New Age Steppers,
Richard Hell and the Voidoids,
Scan 7,
Monks,
The American Breed,
Lizzy Mercier Descloux,
Bizarre Inc.,
Brand Nubian,
Kings Of Tomorrow,
Circle Jerks,
Gil Scott Heron,
LL Cool J,
Wolf Eyes,
Barrington Levy,
The Blackbyrds,
Magma,
CMW,
Lou Reed & John Cale,
Bauhaus,
Drive Like Jehu,
Wasted Youth,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.