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 Belize and from London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Scan 7 to the rap kids.
I played it at the Crocodile.
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 Bobby Hutcherson. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes 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 harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Beasts of Bourbon,
Strawberry Alarm Clock,
Ash Ra Tempel,
The Techniques,
The Star Department,
The Seeds,
Circle Jerks,
Sunsets and Hearts,
Roy Ayers Ubiquity,
Dorothy Ashby,
Pole,
Joensuu 1685,
Minor Threat,
Banda Bassotti,
Duran Duran,
Notorious Big And Bone Thugs,
The United States of America,
Michelle Simonal,
Crooked Eye,
Harmonia,
Alison Limerick,
Liaisons Dangereuses,
Saccharine Trust,
Accadde A,
Oblivians,
Lou Reed & John Cale,
Nirvana,
Easy Going,
Dave Gahan,
Pierre Henry,
Nick Fraelich,
Joe Finger,
Manfred Mann's Earth Band,
H. Thieme,
Super Lover Cee & Casanova Rud,
Ice-T,
Model 500,
Kerri Chandler,
Jesper Dahlback,
Sarah Menescal,
New York Dolls,
Television Personalities,
Popol Vuh,
Mandrill,
Aswad,
Drexciya,
Tubeway Army,
X-Ray Spex,
Danielle Patucci,
Black Bananas,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
The Cosmic Jokers,
Gary Puckett & The Union Gap,
Gong,
Mark Hollis,
Ituana,
Kool G Rap & DJ Polo,
The Sisters of Mercy,
Wasted Youth,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.