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 Saudi Arabia and from Edmonton.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Lyon 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare 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 Super Lover Cee & Casanova Rud to the dance kids.
I played it at the Hacienda.
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 Strawberry Alarm Clock. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and an organ 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 rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
James Chance & The Contortions,
Hashim,
Echo & the Bunnymen,
Drexciya,
The Cure,
Cymande,
Severed Heads,
Accadde A,
The Residents,
Lou Christie,
Kas Product,
The Tremeloes,
Henry Cow,
Eric B and Rakim,
Skriet,
The Moody Blues,
Gil Scott Heron,
Gong,
Minny Pops,
Ultimate Spinach,
Soft Machine,
The Dave Clark Five,
The Flesh Eaters,
Subhumans,
Rahsaan Roland Kirk,
Derrick Morgan,
The Modern Lovers,
Eurythmics,
Sandy B,
The Fire Engines,
Animal Collective,
Barry Ungar,
U.S. Maple,
Marc Romboy vs. Booka Shade,
The Angels of Light,
The Leaves,
Tropical Tobacco,
Wolf Eyes,
Ituana,
Moby Grape,
Grey Daturas,
Vaughan Mason & Crew,
Bill Near,
Magazine,
The Pop Group,
Maurizio,
Mantronix,
Grauzone,
Kings Of Tomorrow,
Basic Channel,
Isaac Hayes,
Easy Going,
Echospace,
Deutsch Amerikanische Freundschaft,
Kenny Larkin,
AZ,
Rosa Yemen,
Susan Cadogan,
EPMD,
MDC, MDC, MDC, MDC.
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.