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 France and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Index to the rap kids.
I played it at Cafe Wha.
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 Wally Richardson. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a guitar 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 chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
AZ,
Sam Rivers,
X-102,
Visage,
Robert Wyatt,
Ken Boothe,
Gong,
Super Lover Cee & Casanova Rud,
Gary Puckett & The Union Gap,
Echo & the Bunnymen,
Kauko Röyhkä ja Narttu,
Kerri Chandler,
Rakim,
Lungfish,
Letta Mbulu,
Joe Smooth,
The Fortunes,
the Sonics,
Byron Stingily,
Davy DMX,
E-Dancer,
Parry Music,
the Swans,
Juan Atkins,
Supertramp,
The Gories,
The Walker Brothers,
Dead Boys,
Brothers Johnson,
Lou Christie,
The Flesh Eaters,
Andrew Hill,
Ohio Players,
Aloha Tigers,
Cheater Slicks,
Lou Reed & John Cale,
Flash Fearless,
New York Dolls,
Lower 48,
Khruangbin,
Bang On A Can,
Rhythim Is Rhythim,
The Seeds,
Pet Shop Boys,
Goldenarms,
Cabaret Voltaire,
Teenage Jesus and the Jerks,
Fat Boys,
Malaria!,
Alton Ellis,
The Names,
Joy Division,
Youth Brigade,
Jacques Brel,
Rowland S Howard / Lydia Lunch,
Dorothy Ashby,
The Victims,
Idris Muhammad,
Jimmy McGriff,
Wolf Eyes,
X-101, X-101, X-101, X-101.
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.