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 Pakistan and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Spokane 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Grauzone to the crunk 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 Moss Icon. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal funk 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 theremin 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 rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Stiv Bators,
Peter Gordon & Love of Life Orchestra,
James Chance & The Contortions,
Pete Rock & C.L. Smooth,
Marine Girls,
Bootsy Collins,
Mary Jane Girls,
Thompson Twins,
New Order,
Arab on Radar,
Visage,
Soul II Soul,
Anakelly,
The Dead C,
Das Ding,
Pulsallama,
Electric Prunes,
Siouxsie and the Banshees,
the Sonics,
Excepter,
Scan 7,
Liliput,
The Seeds,
Wings,
Teenage Jesus and the Jerks,
Isaac Hayes,
Terror Squad Feat. Camron,
R.M.O.,
Ultravox,
the Fania All-Stars,
Bill Wells,
The Five Americans,
Y Pants,
The Electric Prunes,
Essential Logic,
The Invisible,
The Gladiators,
Eve St. Jones,
Reuben Wilson,
Slick Rick,
Avey Tare & Kría Brekkan,
Audionom,
The Searchers,
Country Joe & The Fish,
Roy Ayers Ubiquity,
Whodini,
the Soft Cell,
Sunsets and Hearts,
The Mojo Men,
The Toasters,
Suburban Knight,
Little Man,
Matthew Halsall,
Pharoah Sanders,
Ludus,
The Young Rascals,
The New Christs,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.