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 Micronesia and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 X-Ray Spex to the dance kids.
I played it at the Spitz.
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 Brand Nubian. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
DJ Sneak,
Kings Of Tomorrow,
Roxette,
John Cale,
Gil Scott Heron,
Hasil Adkins,
Kerri Chandler,
Derrick Morgan,
Donny Hathaway,
Carl Craig,
Can,
Andrew Hill,
Freddie Wadling,
The Cosmic Jokers,
Icehouse,
Interpol,
Big Daddy Kane,
Bootsy's Rubber Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythm & Sound,
Nas,
Matthew Bourne,
Young Marble Giants,
The Peanut Butter Conspiracy,
Joe Finger,
The Fire Engines,
Jerry's Kids,
Scan 7,
ABC,
Vainqueur,
Bill Near,
Neu!,
The Happenings,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Erykah Badu,
Robert Wyatt,
Tropical Tobacco,
Lee Hazlewood,
Donald Byrd,
Marvin Gaye,
Ituana,
Camberwell Now,
Rhythim Is Rhythim,
Henry Cow,
Boogie Down Productions,
Marc Romboy vs. Booka Shade,
Sam Rivers,
B.T. Express,
Ajijia Myrayebe,
Eli Mardock,
Bush Tetras,
Sparks,
Whodini,
James White and The Blacks,
Fat Boys,
Lucky Dragons,
Kevin Saunderson,
the Bar-Kays,
Pylon,
Soft Machine,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.