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 Tonga and from Portland.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Manchester and Woodstock.
I'm losing my edge to the art-school Delhi 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 Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Ice-T to the techno 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 One Last Wish. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Henry Cow,
UT,
Kings Of Tomorrow,
Quando Quango,
Electric Light Orchestra,
Stockholm Monsters,
The Human League,
Erasure,
Anakelly,
Lalo Schifrin,
Yusef Lateef,
Wasted Youth,
Chrome,
Main Source,
Bootsy's Rubber Band,
Delta 5,
The Index,
Blake Baxter,
Zero Boys,
Mr. Review,
Spandau Ballet,
Drexciya,
Eric Dolphy,
It's A Beautiful Day,
Terry Callier,
Glenn Branca,
Kas Product,
Black Flag,
Saccharine Trust,
Pantytec,
Max Romeo,
Girls At Our Best!,
The Residents,
The Mojo Men,
Cluster,
Eddi Front,
The Vogues,
Aaron Thompson,
Todd Rundgren,
Rekid,
June of 44,
The Black Dice,
The Evens,
Tim Buckley,
These Immortal Souls,
Grey Daturas,
Tres Demented,
PIL,
Gian Franco Pienzio,
Peter & Gordon,
Crash Course in Science,
Audionom,
Roy Ayers,
Jandek,
The Gun Club,
Amazonics,
Accadde A,
Warsaw,
Tom Boy,
Pulsallama,
Ludus, Ludus, Ludus, Ludus.
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.