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 Senegal and from Bremen.
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 Beijing and Woodstock.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Fugazi to the crunk 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 New Christs. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar 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 marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
It's A Beautiful Day,
Selector Dub Narcotic,
Avey Tare's Slasher Flicks,
Pylon,
B.T. Express,
Pete Rock & C.L. Smooth,
Peter & Gordon,
Barrington Levy,
Kayak,
Crispy Ambulance,
Red Lorry Yellow Lorry,
Skaos,
Das Ding,
June of 44,
Freddie Wadling,
Fifty Foot Hose,
Crime,
Jesper Dahlbäck,
Howard Jones,
Heaven 17,
The Cosmic Jokers,
James Chance & The Contortions,
the Bar-Kays,
Kenny Larkin,
These Immortal Souls,
The Doors,
Bauhaus,
The Gories,
Rahsaan Roland Kirk,
Boz Scaggs,
Warren Ellis,
The Jesus and Mary Chain,
Loose Ends,
Country Teasers,
Boredoms,
Lou Reed,
The Detroit Cobras,
Visage,
Janne Schatter,
The Birthday Party,
Lou Reed & Metallica,
Be Bop Deluxe,
Marvin Gaye,
JFA,
Eve St. Jones,
Sun Ra Arkestra,
Eric Dolphy,
The Beau Brummels,
Radio Birdman,
Rosa Yemen,
Roxy Music,
Oblivians,
The Men They Couldn't Hang,
John Cale,
Main Source,
Sound Behaviour,
The Gap Band,
Sight & Sound,
The Monochrome Set,
Kool Moe Dee,
Heavy D & The Boyz,
Scratch Acid,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.