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 Afghanistan and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Gil Scott-Heron and Jamie xx to the rap kids.
I played it at Trash.
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 Fat Boys. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every X-102 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet 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?
Cabaret Voltaire,
OOIOO,
Mark Hollis,
Eric Dolphy,
Reuben Wilson,
The Fugs,
Swans,
John Foxx,
the Fania All-Stars,
Sun Ra,
ABBA,
The Index,
Black Bananas,
Japan,
Fifty Foot Hose,
The Flesh Eaters,
Ultramagnetic MC's,
Gang Starr,
Lyres,
Zero Boys,
Amazonics,
Aural Exciters,
Lungfish,
Orchestral Manoeuvres in the Dark,
CMW,
The Associates,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Derrick Morgan,
Harpers Bizarre,
10cc,
B.T. Express,
Gang Gang Dance,
Niagra,
The Stooges,
The Gap Band,
Reagan Youth,
Kango’s Stein Massive,
The Motions,
Amon Düül II,
Can,
Bang on a Can All-Stars,
Brass Construction,
Howard Jones,
Lee Hazlewood,
Prince Buster,
Brick,
Quantec,
Theoretical Girls,
Schoolly D,
Anakelly,
The Names,
Pulsallama,
Big Daddy Kane,
Freddie Wadling,
Bootsy Collins,
Half Japanese,
Brothers Johnson,
Rhythm & Sound,
8 Eyed Spy,
Bob Dylan,
Lucky Dragons,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.