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 Turkmenistan and from New York.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Madrid and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 The United States of America 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 Johnny Osbourne. All the underground hits.
All the Association tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba 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 oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Lonnie Liston Smith,
CMW,
a-ha,
the Soft Cell,
Spandau Ballet,
Blancmange,
Sam Rivers,
The Velvet Underground,
Alison Limerick,
Pussy Galore,
Kerrie Biddell,
Selector Dub Narcotic,
The Seeds,
John Cale,
The Moody Blues,
Andrew Ashong & Theo Parrish,
Kurtis Blow,
The Grass Roots,
The Skatalites,
A Certain Ratio,
Brothers Johnson,
Scratch Acid,
The Zeros,
Louis and Bebe Barron,
Kas Product,
Sound Behaviour,
Harmonia,
Arab on Radar,
X-Ray Spex,
Model 500,
The Techniques,
Connie Case,
Half Japanese,
The Fugs,
Main Source,
Swell Maps,
Hashim,
The American Breed,
Robert Görl,
DNA,
Jeru the Damaja,
Neil Young & Crazy Horse,
The Misunderstood,
Royal Trux,
Swans,
Alice Coltrane,
Dennis Brown,
Grey Daturas,
Scientists,
The Searchers,
Ultra Naté,
Technova,
Slave,
Soulsonic Force,
Trumans Water,
Babytalk,
The United States of America,
Nick Cave & The Bad Seeds,
the Bar-Kays,
Glambeats Corp.,
Avey Tare & Kría Brekkan,
Dark Day, Dark Day, Dark Day, Dark Day.
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.