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 Morocco and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Johannesburg 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 1973 at the first Television practice in a loft in New York.
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 Bush Tetras to the electroclash kids.
I played it at Cafe Wha.
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 Move. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Marc Almond 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb 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 snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Dawn Penn,
Cal Tjader,
James White and The Blacks,
Technova,
Rosa Yemen,
Soft Machine,
Fugazi,
The West Coast Pop Art Experimental Band,
The Zeros,
Drive Like Jehu,
Rahsaan Roland Kirk,
The Red Krayola,
Warren Ellis,
Bill Wells,
Idris Muhammad,
Delon & Dalcan,
Bang On A Can,
Basic Channel,
Sam Rivers,
The Music Machine,
Joyce Sims,
Rakim,
Hoover,
Avey Tare's Slasher Flicks,
Vladislav Delay,
Tres Demented,
KRS-One,
UT,
Eric B and Rakim,
Barrington Levy,
Lou Reed & John Cale,
Grandmaster Flash,
The Dirtbombs,
Skaos,
Peter and Kerry,
Mark Hollis,
Fear,
Massinfluence,
Notorious BIG live in Amsterdam,
Magazine,
Ornette Coleman,
Ossler,
Todd Rundgren,
Fluxion,
The Sisters of Mercy,
Das Ding,
The Fall,
The Royal Family And The Poor,
Visionaries,LMNO, T- Love & Iriscience,
MDC,
Yaz,
Heaven 17,
Radio Birdman,
The Mighty Diamonds,
Pet Shop Boys,
Girls At Our Best!,
Cameo,
Organ,
Shoche,
Zero Boys,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.