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 Gabon and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Winnipeg and Columbus.
I'm losing my edge to the art-school Manila 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Pylon to the grime kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every The Moody Blues 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer 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 mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
The Sound,
Clear Light,
Shoche,
Babytalk,
Matthew Halsall,
Brass Construction,
Banda Bassotti,
Charles Mingus,
The American Breed,
Lucky Dragons,
Underground Resistance,
A Certain Ratio,
Can,
Barry Ungar,
FM Einheit,
Warsaw,
Sun Ra,
Sad Lovers and Giants,
Ludus,
Gian Franco Pienzio,
Nik Kershaw,
Minutemen,
Sugar Minott,
The Moody Blues,
The Index,
Agent Orange,
Eric B and Rakim,
Neil Young & Crazy Horse,
Terrestrial Tones,
Pulsallama,
Avey Tare & Kría Brekkan,
Gabor Szabo,
Byron Stingily,
Mission of Burma,
Jerry's Kids,
Drive Like Jehu,
Davy DMX,
Gichy Dan,
B.T. Express,
Nas,
Accadde A,
The Pop Group,
Laurel Aitken,
Pantytec,
Con Funk Shun,
Spandau Ballet,
Dual Sessions,
The Beau Brummels,
David Bowie,
Lightning Bolt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
In Retrospect,
Aloha Tigers,
Sun Ra Arkestra,
The Knickerbockers,
China Crisis,
Crash Course in Science,
Joe Smooth,
Ronan,
Cluster,
Easy Going,
Skriet,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.