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 Mongolia and from Jakarta.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Amazonics to the jazz 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 Bluetip. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Mandrill 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 '70s.
I hear you're buying a guitar and a linndrum 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 synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Röyhkä ja Rättö ja Lehtisalo,
Accadde A,
T.S.O.L.,
Manfred Mann's Earth Band,
Stiv Bators,
Carl Craig,
The Gun Club,
DJ Style,
Qualms,
Fad Gadget,
Procol Harum,
Bobby Sherman,
Young Marble Giants,
John Holt,
Public Image Ltd.,
Gang of Four,
Jeff Mills,
Avey Tare's Slasher Flicks,
Donny Hathaway,
Audionom,
Agitation Free,
A Flock of Seagulls,
Dead Boys,
Terry Callier,
The Electric Prunes,
Brass Construction,
Reagan Youth,
Soft Cell,
Louis and Bebe Barron,
James Chance & The Contortions,
Girls At Our Best!,
Pulsallama,
Sad Lovers and Giants,
Strawberry Alarm Clock,
Tim Buckley,
Traffic Nightmare,
Rekid,
Ultravox,
Black Moon,
The Durutti Column,
Cabaret Voltaire,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Basic Channel,
London Community Gospel Choir,
ABBA,
Boredoms,
the Bar-Kays,
Fluxion,
The West Coast Pop Art Experimental Band,
Bootsy's Rubber Band,
Blake Baxter,
Connie Case,
Henry Cow,
48th St. Collective,
UT,
Silicon Teens,
La Düsseldorf,
Tres Demented,
MDC,
Lyres,
Sun Ra,
Avey Tare & Kría Brekkan,
Rapeman, Rapeman, Rapeman, Rapeman.
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.