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 Montenegro and from Hong Kong.
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 1975.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Portland 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Alarm Clocks to the disco kids.
I played it at the Spitz.
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 Althea and Donna. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Brothers Johnson 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 '70s.
I hear you're buying a mellotron and a marimba 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 linndrum.
I hear that you and your band have sold your linndrum 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?
Eric Dolphy,
Public Image Ltd.,
Kool Moe Dee,
Eli Mardock,
Isaac Hayes,
ABBA,
Electric Light Orchestra,
the Soft Cell,
L. Decosne,
The Real Kids,
Swell Maps,
The Buckinghams,
Young Marble Giants,
Man Parrish,
Mars,
Pere Ubu,
Shuggie Otis,
Wally Richardson,
Mr. Review,
Harmonia,
Ludus,
Soulsonic Force,
Robert Görl,
Scott Walker + Sunn O))),
Traffic Nightmare,
Lou Reed & Metallica,
Crispy Ambulance,
Moebius,
Ken Boothe,
The Young Rascals,
Althea and Donna,
Kurtis Blow,
Sexual Harrassment,
The Pretty Things,
Bill Near,
Justin Hinds & The Dominoes,
Mad Mike,
New Age Steppers,
Colin Newman,
Slick Rick,
Smog,
The Chocolate Watch Band,
Ronan,
James White and The Blacks,
Zero Boys,
The Martian,
The Residents,
Kas Product,
Notorious BIG live in Amsterdam,
Pierre Henry,
Sunsets and Hearts,
Animal Collective,
John Foxx,
The Fugs,
Deakin,
The Count Five,
The Detroit Cobras,
Stetsasonic,
Marshall Jefferson,
KRS-One,
June of 44,
Eyeless In Gaza,
Michelle Simonal,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.