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 Malaysia and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Houston 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Reuben Wilson to the rap kids.
I played it at the Astoria.
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 Sixth Finger. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin 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 sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Pantytec,
Jesper Dahlbäck,
Kerri Chandler,
The Grass Roots,
Lakeside,
Shoche,
The Tremeloes,
Big Daddy Kane,
Q65,
Gang Gang Dance,
The Zeros,
48th St. Collective,
Monks,
Deadbeat,
Section 25,
Guru Guru,
Todd Terry,
Red Lorry Yellow Lorry,
The Doobie Brothers,
Davy DMX,
These Immortal Souls,
Sad Lovers and Giants,
The Durutti Column,
Curtis Mayfield,
Fugazi,
A Certain Ratio,
Desert Stars,
Dennis Brown,
T.S.O.L.,
Neu!,
The Stooges,
Deepchord,
Public Image Ltd.,
Pete Rock & C.L. Smooth,
Kerrie Biddell,
Harry Pussy,
Roger Hodgson,
The American Breed,
Roy Ayers,
Connie Case,
Kayak,
Brick,
Notorious Big And Bone Thugs,
Super Lover Cee & Casanova Rud,
Godley & Creme,
Marine Girls,
U.S. Maple,
Warsaw,
Bill Near,
Glambeats Corp.,
Con Funk Shun,
Sällskapet,
Max Romeo,
Marmalade,
Bootsy's Rubber Band,
Inner City,
Main Source,
Bizarre Inc.,
Bobby Sherman,
Bush Tetras,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.