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 Uzbekistan and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Edmonton 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 808 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 Second Layer to the funk 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 Gang Green. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Suburban Knight 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 '80s.
I hear you're buying a mellotron and an organ 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Sandy B,
Scan 7,
The Evens,
Neu!,
Barclay James Harvest,
Organ,
Second Layer,
Gil Scott Heron,
Adolescents,
Icehouse,
Jeru the Damaja,
Howard Jones,
Lee Hazlewood,
The Chocolate Watch Band,
Roxy Music,
Al Stewart,
Glambeats Corp.,
The Blackbyrds,
Stereo Dub,
The Saints,
Kings Of Tomorrow,
Danielle Patucci,
X-Ray Spex,
Peter & Gordon,
Television,
X-101,
The Moody Blues,
The Mojo Men,
This Heat,
the Bar-Kays,
Country Joe & The Fish,
Electric Light Orchestra,
Zero Boys,
Smog,
Avey Tare's Slasher Flicks,
Siglo XX,
Eli Mardock,
Nick Fraelich,
Larry & the Blue Notes,
The Invisible,
Don Cherry,
Nirvana,
Stockholm Monsters,
Deakin,
the Association,
Grandmaster Flash,
Young Marble Giants,
Lou Christie,
Skarface,
Jeff Lynne,
The Cramps,
Ten City,
Gabor Szabo,
Arcadia,
Blossom Toes,
Darondo,
Royal Trux,
Mary Jane Girls,
Prince Buster,
The Velvet Underground,
the Soft Cell,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.