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 Honduras and from Stockholm.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Sad Lovers and Giants to the grunge kids.
I played it at the Roxy.
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 Litter. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer 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 güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
The Cowsills,
Sixth Finger,
Johnny Osbourne,
Crash Course in Science,
The Electric Prunes,
Notorious Big And Bone Thugs,
Marcia Griffiths,
Harpers Bizarre,
Grandmaster Flash and the Furious Five,
Swell Maps,
Pagans,
Pylon,
Delon & Dalcan,
Blossom Toes,
It's A Beautiful Day,
The Leaves,
Interpol,
EPMD,
The Standells,
Accadde A,
Tom Boy,
Joey Negro,
The Angels of Light,
Rufus Thomas,
Chris Corsano,
The Techniques,
Max Romeo,
In Retrospect,
Bang On A Can,
Newcleus,
Barrington Levy,
Bobby Womack,
Maurizio,
Skarface,
Grandmaster Flash,
Grauzone,
De La Soul & Jungle Brothers,
Lungfish,
Prince Buster,
Traffic Nightmare,
Unrelated Segments,
John Lydon,
Outsiders,
Jandek,
Pharaoh Sanders and the Fire Engines,
Nick Cave & The Bad Seeds,
Yellowson,
Kenny Larkin,
Electric Light Orchestra,
The Names,
Schoolly D,
Bob Dylan,
The Shadows of Knight,
The Gories,
Aswad,
Ohio Players,
Fifty Foot Hose,
Janne Schatter,
Pantaleimon,
Stockholm Monsters,
A Flock of Seagulls,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.