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 Lebanon and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Houston 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Howard Jones to the techno kids.
I played it at the Roxy.
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 Howard Jones. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Dual Sessions,
Toni Rubio,
D'Angelo,
Yusef Lateef,
a-ha,
Sam Rivers,
John Coltrane,
Pere Ubu,
Josef K,
Ken Boothe,
Strawberry Alarm Clock,
Shuggie Otis,
The Doobie Brothers,
The Names,
Howard Jones,
The Trojans,
Jeff Mills,
Young Marble Giants,
Yellowson,
The West Coast Pop Art Experimental Band,
The New Christs,
Crispy Ambulance,
Siglo XX,
Blake Baxter,
Rowland S Howard / Lydia Lunch,
Metal Thangz,
Kayak,
The Wake,
Andrew Ashong & Theo Parrish,
Public Image Ltd.,
Duran Duran,
Henry Cow,
Tubeway Army,
Soft Cell,
The Cramps,
Traffic Nightmare,
Marine Girls,
Laurel Aitken,
Man Eating Sloth,
The Music Machine,
The Vogues,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Heaven 17,
Don Cherry,
Stetsasonic,
Scientists,
Matthew Halsall,
The Standells,
Spoonie Gee,
New Age Steppers,
Deadbeat,
The Invisible,
Bobby Hutcherson,
Hasil Adkins,
Jeru the Damaja,
Smog,
Arthur Verocai,
Spandau Ballet,
Jerry's Kids,
Orchestral Manoeuvres in the Dark,
This Heat,
Pagans,
John Foxx, John Foxx, John Foxx, John Foxx.
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.