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 Tanzania and from Calgary.
But I was there.
I was there in .
I was there at the first Suicide 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 1964 to 1972.
I'm losing my edge.
To all the kids in Manchester and Cairo.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 Happenings to the disco kids.
I played it at Trash.
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 Roy Ayers. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Accadde A 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
the Soft Cell,
Porter Ricks,
Rod Modell,
Harpers Bizarre,
World's Most,
John Lydon,
The Men They Couldn't Hang,
Sister Nancy,
Sun Ra Arkestra,
the Sonics,
Alice Coltrane,
The Flesh Eaters,
Visionaries,LMNO, T- Love & Iriscience,
Pylon,
La Düsseldorf,
Pole,
ABC,
Flash Fearless,
a-ha,
Minnie Riperton,
Joe Finger,
Das Ding,
Desert Stars,
Amon Düül II,
Graham Central Station,
Gong,
Wings,
Robert Wyatt,
James White and The Blacks,
The Tremeloes,
Avey Tare's Slasher Flicks,
Mad Mike,
Skaos,
Simply Red,
Sparks,
Public Image Ltd.,
Mantronix,
Slave,
Boz Scaggs,
Fear,
Peter & Gordon,
Gastr Del Sol,
The Standells,
Sunsets and Hearts,
Subhumans,
Cameo,
Jesper Dahlback,
Intrusion,
T.S.O.L.,
The Golliwogs,
Henry Cow,
Deutsch Amerikanische Freundschaft,
The Moleskins,
Soul II Soul,
The Martian,
Maleditus Sound,
Country Teasers,
The New Christs,
The Alarm Clocks,
Derrick May,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.