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 Kuwait and from Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Mexico City 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 Holger Czukay 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 Public Image Ltd. to the grime kids.
I played it at CBGB's.
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 CMW. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a theremin 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Main Source,
Gil Scott-Heron & Brian Jackson,
Andrew Hill,
Royal Trux,
Electric Prunes,
The Pretty Things,
Siouxsie and the Banshees,
Robert Görl,
Scratch Acid,
Qualms,
Audionom,
Eli Mardock,
The Dave Clark Five,
Suburban Knight,
Donny Hathaway,
F. McDonald,
X-101,
June of 44,
The Gap Band,
Bootsy's Rubber Band,
Sad Lovers and Giants,
Marvin Gaye,
Minor Threat,
Gil Scott Heron,
Skarface,
The Gladiators,
Kayak,
The Peanut Butter Conspiracy,
Jawbox,
Gastr Del Sol,
The Techniques,
Sun Ra Arkestra,
Don Cherry,
Metal Thangz,
Red Lorry Yellow Lorry,
The Sound,
Make Up,
Agent Orange,
Quantec,
Jerry's Kids,
Idris Muhammad,
Jandek,
Bill Wells,
Glenn Branca,
Mad Mike,
T. Rex,
Rapeman,
Lalo Schifrin,
Essential Logic,
Oppenheimer Analysis,
Echospace,
Aaron Thompson,
Lakeside,
James Chance & The Contortions,
Supertramp,
The Star Department,
Terror Squad Feat. Camron,
Joy Division,
Kings Of Tomorrow,
Angels of Light & Akron/Family,
The Red Krayola,
Sticky Fingaz feat. Raekwon,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.