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 Greece and from Tehran.
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 1969 to 1979.
I'm losing my edge.
To all the kids in London and Halifax.
I'm losing my edge to the art-school Toronto 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 1977 at the first Human League practice in a loft in Sheffield.
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 Carl Craig to the grime kids.
I played it at the 40 Watt.
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 Marvin Gaye. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare 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 harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Janne Schatter,
Half Japanese,
Electric Light Orchestra,
Ponytail,
UT,
La Düsseldorf,
The West Coast Pop Art Experimental Band,
Radiopuhelimet,
The Saints,
The Gap Band,
Jesper Dahlback,
Gabor Szabo,
Eric Copeland,
The Selecter,
Michelle Simonal,
Jawbox,
Wings,
Sarah Menescal,
Talk Talk,
Main Source,
Kango’s Stein Massive,
The Happenings,
Vladislav Delay,
Qualms,
Fela Kuti,
Negative Approach,
Neil Young & Crazy Horse,
Public Enemy,
Cabaret Voltaire,
Lou Reed & John Cale,
Yusef Lateef,
Hoover,
The Alarm Clocks,
Deepchord,
The Cramps,
Notorious Big And Bone Thugs,
Harpers Bizarre,
Harmonia,
Faraquet,
The Cosmic Jokers,
Ohio Players,
Amon Düül,
Bootsy Collins,
Franke,
Throbbing Gristle,
Jeff Mills,
Peter Gordon & Love of Life Orchestra,
Lebanon Hanover,
The Music Machine,
Jeru the Damaja,
The Pop Group,
the Bar-Kays,
Scott Walker,
Ronan,
Flipper,
Sight & Sound,
Scratch Acid,
Magazine,
Piero Umiliani,
Aswad,
Colin Newman,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.