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 Guinea and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1972.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Shanghai 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 Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 techno kids.
I played it at CBGB's.
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 Sonny Sharrock. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Brand Nubian,
Orchestral Manoeuvres in the Dark,
Lou Reed & John Cale,
Model 500,
Soft Cell,
The Skatalites,
Cal Tjader,
Khruangbin,
Liaisons Dangereuses,
Delon & Dalcan,
The Fortunes,
Jimmy McGriff,
Scientists,
Black Bananas,
The Five Americans,
Magma,
Lafayette Afro Rock Band,
Radiohead,
David Bowie,
Amazonics,
Malaria!,
Oneida,
Nick Fraelich,
the Association,
Siglo XX,
Excepter,
Half Japanese,
Pharoah Sanders,
Urselle,
Mo-Dettes,
Cheater Slicks,
The Mighty Diamonds,
F. McDonald,
Slave,
The Gun Club,
Strawberry Alarm Clock,
Pharaoh Sanders and the Fire Engines,
Technova,
Black Sheep,
Isaac Hayes,
10cc,
Rahsaan Roland Kirk,
Circle Jerks,
Massinfluence,
Q65,
The Standells,
Connie Case,
Rhythm & Sound,
Robert Görl,
Rowland S Howard / Lydia Lunch,
Boogie Down Productions,
Darondo,
Porter Ricks,
Shuggie Otis,
Drexciya,
Joey Negro,
Black Flag,
Desert Stars,
Stereo Dub,
Clear Light, Clear Light, Clear Light, Clear Light.
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.