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 Jordan and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 punk 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 Echospace. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Brothers Johnson,
Make Up,
Notorious Big And Bone Thugs,
The Dave Clark Five,
The Men They Couldn't Hang,
Joe Smooth,
Supertramp,
Ralphi Rosario,
Man Eating Sloth,
Stiv Bators,
LL Cool J,
Johnny Clarke,
Silicon Teens,
Echospace,
Chris Corsano,
Bobby Hutcherson,
Ossler,
A Certain Ratio,
The Chocolate Watch Band,
Drive Like Jehu,
Talk Talk,
Jandek,
Steve Hackett,
Jacob Miller,
Wasted Youth,
London Community Gospel Choir,
Gian Franco Pienzio,
Patti Smith,
Das Ding,
Matthew Bourne,
The Jesus and Mary Chain,
Qualms,
Flash Fearless,
Rhythm & Sound,
T. Rex,
Archie Shepp,
Kevin Saunderson,
The Vogues,
Matthew Halsall,
The Techniques,
Gerry Rafferty,
Heaven 17,
Eric Copeland,
Lou Reed,
Moby Grape,
Morten Harket,
Absolute Body Control,
Swell Maps,
Kings Of Tomorrow,
Fort Wilson Riot,
Oppenheimer Analysis,
Cymande,
Cabaret Voltaire,
One Last Wish,
Derrick Morgan,
Groovy Waters,
Isaac Hayes,
cv313,
Roxy Music,
kango's stein massive,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.