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 Bangladesh and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Toronto 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 clarinet 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 Sex Pistols to the rap kids.
I played it at the 40 Watt.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Dorothy Ashby 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Lou Reed & Metallica,
Eyeless In Gaza,
James Chance & The Contortions,
A Certain Ratio,
Bootsy Collins,
Ultravox,
Eve St. Jones,
Strawberry Alarm Clock,
Cecil Taylor,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marmalade,
Amon Düül,
OOIOO,
Jerry's Kids,
The Sisters of Mercy,
Boredoms,
Ronnie Foster,
The Beau Brummels,
Erykah Badu,
Prince Buster,
Radiopuhelimet,
Motorama,
Dave Gahan,
Gary Puckett & The Union Gap,
New Order,
The Happenings,
The Residents,
Rhythm & Sound,
U.S. Maple,
The Offenders,
Jawbox,
Essential Logic,
Jesper Dahlback,
The Detroit Cobras,
Bobby Byrd,
The Fuzztones,
Brand Nubian,
Howard Jones,
the Soft Cell,
Model 500,
Jesper Dahlbäck,
Vaughan Mason & Crew,
Bizarre Inc.,
Drive Like Jehu,
Funkadelic,
X-101,
Rosa Yemen,
The Standells,
Rufus Thomas,
Nation of Ulysses,
Banda Bassotti,
The Doobie Brothers,
Bush Tetras,
Joyce Sims,
Malaria!,
David McCallum,
Dorothy Ashby,
Boogie Down Productions,
Sister Nancy,
The Velvet Underground,
10cc, 10cc, 10cc, 10cc.
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.