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 Afghanistan and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Manila 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 Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Monks to the punk 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 Unrelated Segments. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 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?
Rhythm & Sound,
B.T. Express,
One Last Wish,
Yellowson,
Joyce Sims,
The J.B.'s,
Scott Walker,
Crash Course in Science,
Moby Grape,
T.S.O.L.,
Ice-T,
Amon Düül II,
Flamin' Groovies,
The Smoke,
Gang of Four,
Unrelated Segments,
Matthew Bourne,
The Beau Brummels,
The Men They Couldn't Hang,
Joey Negro,
The Neon Judgement,
Zero Boys,
Stiv Bators,
Marc Romboy vs. Booka Shade,
Deutsch Amerikanische Freundschaft,
Bill Wells,
Audionom,
Camberwell Now,
The Fire Engines,
Man Eating Sloth,
Andrew Hill,
Josef K,
Connie Case,
Lonnie Liston Smith,
Bizarre Inc.,
MC5,
Crooked Eye,
Tommy Roe,
Lalann,
the Bar-Kays,
Symarip,
Eurythmics,
Alphaville,
Gang Starr,
Faraquet,
Swans,
Jacques Brel,
Pierre Henry,
Kerrie Biddell,
Henry Cow,
Soul II Soul,
Cabaret Voltaire,
The Music Machine,
Terrestrial Tones,
Unwound,
Lou Reed,
Sarah Menescal,
Glambeats Corp.,
Amazonics,
Newcleus,
The Slits,
Grandmaster Flash and the Furious Five,
New Order,
Girls At Our Best!,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.