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 El Salvador and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1971.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Taipei 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Eli Mardock to the jazz kids.
I played it at the Troubador.
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 Zero Boys. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Soft Cell,
Nation of Ulysses,
Sexual Harrassment,
Robert Hood,
Sister Nancy,
Minutemen,
The Red Krayola,
The Names,
Rites of Spring,
Rosa Yemen,
Erasure,
Bobby Byrd,
Ajijia Myrayebe,
The New Christs,
Sight & Sound,
Jawbox,
Gang Green,
Quando Quango,
Alphaville,
kango's stein massive,
Con Funk Shun,
Colin Newman,
Whodini,
Man Parrish,
Sugar Minott,
Aural Exciters,
Hoover,
The Stooges,
Rahsaan Roland Kirk,
Lou Reed & Metallica,
The Martian,
Frankie Knuckles,
Aloha Tigers,
Bootsy Collins,
The Gun Club,
The Associates,
This Heat,
The Mojo Men,
Magazine,
Juan Atkins,
Bad Manners,
Gong,
Be Bop Deluxe,
Public Enemy,
Malaria!,
FM Einheit,
Sun Ra Arkestra,
Moebius,
Marine Girls,
Cybotron,
The Blackbyrds,
Gary Puckett & The Union Gap,
Skriet,
Roxette,
Lungfish,
Essential Logic,
The Shadows of Knight,
Goldenarms,
Janne Schatter,
Donald Byrd,
Kas Product,
Skaos, Skaos, Skaos, Skaos.
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.