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 Accra.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Tehran and Salvador.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Jeff Lynne to the rap 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 Japan. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 mellotron and a guitar 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Soulsonic Force,
Jesper Dahlbäck,
Albert Ayler,
Pharaoh Sanders and the Fire Engines,
Magma,
The Zeros,
The Toasters,
Pulsallama,
Selector Dub Narcotic,
Model 500,
The Durutti Column,
Tim Buckley,
Patti Smith,
Todd Terry,
Jeru the Damaja,
Motorama,
Pete Rock & C.L. Smooth,
Dr. Dre and Snoop Doggy Dog,
Fatback Band,
Robert Hood,
Skarface,
The Moleskins,
Accadde A,
Ralphi Rosario,
The Offenders,
Yazoo,
Circle Jerks,
Gian Franco Pienzio,
Ash Ra Tempel,
The Red Krayola,
Soft Machine,
The Motions,
Country Teasers,
The Selecter,
Sugar Minott,
Franke,
John Coltrane,
Mantronix,
Pole,
Depeche Mode,
Marine Girls,
Lower 48,
The Wake,
KRS-One,
Oneida,
Wings,
Jacob Miller,
Infiniti,
The Pop Group,
Thee Headcoats,
Lightning Bolt,
Gang Starr,
Peter and Kerry,
John Lydon,
Lakeside,
Minnie Riperton,
The Gun Club,
Tommy Roe,
Janne Schatter,
Quadrant,
Sixth Finger,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.