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 Pakistan and from Halifax.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Connie Case to the techno kids.
I played it at the Spitz.
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 Eric Dolphy. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Moss Icon 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba 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 marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
The Detroit Cobras,
Ponytail,
The Fugs,
Neu!,
Saccharine Trust,
DNA,
Echospace,
Royal Trux,
Ice-T,
Thee Headcoats,
Soft Cell,
Jawbox,
Lonnie Liston Smith,
The Alarm Clocks,
B.T. Express,
The Gun Club,
Blossom Toes,
OOIOO,
A Certain Ratio,
Wighnomy Brothers & Robag Wruhme,
Cymande,
Rakim,
Altered Images,
Visage,
Amazonics,
Groovy Waters,
Excepter,
Clear Light,
Rapeman,
Beasts of Bourbon,
DJ Sneak,
Tears for Fears,
Barry Ungar,
Moss Icon,
Lou Christie,
Drexciya,
The Searchers,
Zapp,
Sonny Sharrock,
Juan Atkins,
Joe Finger,
Simply Red,
Jerry Gold Smith,
Monks,
The Music Machine,
The Count Five,
T.S.O.L.,
La Düsseldorf,
Radio Birdman,
Animal Collective,
Wasted Youth,
Al Stewart,
James White and The Blacks,
UT,
Stiv Bators,
Desert Stars,
Quadrant,
Vladislav Delay,
June of 44,
Super Lover Cee & Casanova Rud,
PIL,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.