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 Congo and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Siouxsie and the Banshees to the grime kids.
I played it at CBGB's.
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 The Mummies. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro 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 spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Max Romeo,
Black Sheep,
Terror Squad Feat. Camron,
Minor Threat,
Joe Finger,
The Doors,
Soft Machine,
Pussy Galore,
Warsaw,
The Young Rascals,
Bobby Hutcherson,
Lafayette Afro Rock Band,
Nils Olav,
Wire,
Jesper Dahlbäck,
James White and The Blacks,
Piero Umiliani,
a-ha,
Gil Scott-Heron & Brian Jackson,
The Litter,
John Holt,
Iggy Pop,
The Techniques,
Outsiders,
The Residents,
The Cowsills,
The Toasters,
Art Ensemble Of Chicago,
Clear Light,
Hashim,
Hardrive,
Scientists,
Big Daddy Kane,
Nik Kershaw,
Bill Wells,
The New Christs,
Pharoah Sanders,
R.M.O.,
The Modern Lovers,
The Leaves,
Blake Baxter,
Bill Near,
Crispian St. Peters,
Yusef Lateef,
Aaron Thompson,
The Durutti Column,
Barclay James Harvest,
Spoonie Gee,
The Victims,
Television,
Monolake,
Al Stewart,
Heaven 17,
10cc,
Lou Reed & Metallica,
Section 25,
Half Japanese,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.