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 Mexico and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Hong Kong 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 Throbbing Gristle practice in a loft in London.
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 Marshall Jefferson to the disco kids.
I played it at CBGB's.
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 Joey Negro. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a harpsichord 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 spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Lindisfarne,
Royal Trux,
Eli Mardock,
Jesper Dahlbäck,
Johnny Osbourne,
Selector Dub Narcotic,
Zero Boys,
Nirvana,
Hoover,
The West Coast Pop Art Experimental Band,
Section 25,
Derrick May,
Country Teasers,
Kango’s Stein Massive,
Sugar Minott,
Mantronix,
the Germs,
Lou Reed & Metallica,
Tim Buckley,
Radiopuhelimet,
Black Flag,
CMW,
Matthew Bourne,
The Dave Clark Five,
Sun Ra Arkestra,
Lou Reed & John Cale,
Lightning Bolt,
Organ,
Cymande,
Lou Christie,
The Sound,
Hardrive,
The Searchers,
New Age Steppers,
Peter & Gordon,
Carl Craig,
Ash Ra Tempel,
Supertramp,
Flash Fearless,
Jeff Mills,
The Pretty Things,
The Techniques,
Reagan Youth,
Niagra,
the Fania All-Stars,
Khruangbin,
Lalo Schifrin,
The Smiths,
Von Mondo,
The Shadows of Knight,
Bush Tetras,
Unrelated Segments,
F. McDonald,
Godley & Creme,
ABC,
Soul II Soul,
Black Sheep,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.