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 Zimbabwe and from Halifax.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Delhi 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 theremin 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 Ultra Naté 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 The Motions. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator 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 sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Ultra Naté,
Motorama,
Pantytec,
The Mighty Diamonds,
Magazine,
Dual Sessions,
Glenn Branca,
Dawn Penn,
Michelle Simonal,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Wasted Youth,
The Tremeloes,
The Velvet Underground,
Man Parrish,
Circle Jerks,
Thee Headcoats,
Rufus Thomas,
Idris Muhammad,
Procol Harum,
Joensuu 1685,
Amon Düül II,
Rakim,
Notorious Big And Bone Thugs,
Yaz,
Siouxsie and the Banshees,
Terrestrial Tones,
Bootsy's Rubber Band,
The Blues Magoos,
Flamin' Groovies,
Reagan Youth,
Camouflage,
Big Daddy Kane,
Davy DMX,
Eden Ahbez,
the Association,
48th St. Collective,
Minny Pops,
Jimmy McGriff,
Ronnie Foster,
Traffic Nightmare,
The Fugs,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Spandau Ballet,
MDC,
Chrome,
Crash Course in Science,
Letta Mbulu,
Wire,
New York Dolls,
Gang of Four,
The Red Krayola,
Amon Düül,
Deutsch Amerikanische Freundschaft,
Kango’s Stein Massive,
Drive Like Jehu,
Spoonie Gee,
Lebanon Hanover,
Buzzcocks,
The Cure,
The Doobie Brothers,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.