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 Japan and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Delon & Dalcan to the electroclash 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 MDC. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Hardrive 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 '90s.
I hear you're buying a synthesizer and a guitar 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 theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Camberwell Now,
Pulsallama,
Buzzcocks,
D'Angelo,
Grandmaster Flash and the Furious Five,
The United States of America,
Parry Music,
The Victims,
X-102,
Bobby Sherman,
The Smiths,
The Vogues,
Kerrie Biddell,
Juan Atkins,
Maleditus Sound,
Joy Division,
Black Flag,
the Sonics,
Deutsch Amerikanische Freundschaft,
Public Enemy,
Kaleidoscope,
Stockholm Monsters,
Bizarre Inc.,
Joyce Sims,
John Cale,
James White and The Blacks,
Boogie Down Productions,
Ken Boothe,
Sound Behaviour,
Bluetip,
Brand Nubian,
Bad Manners,
Idris Muhammad,
L. Decosne,
The Angels of Light,
Oblivians,
LL Cool J,
The Mummies,
Hashim,
Organ,
The Stooges,
Television,
Isaac Hayes,
The Index,
Bootsy Collins,
Minny Pops,
Hot Snakes,
Harry Pussy,
Crime,
Oppenheimer Analysis,
Sad Lovers and Giants,
The New Christs,
Rotary Connection,
Fad Gadget,
Reuben Wilson,
The Dead C,
Louis and Bebe Barron,
Lonnie Liston Smith,
Silicon Teens,
Leonard Cohen,
Wolf Eyes,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.