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 New Zealand and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lille and Mexico City.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Althea and Donna to the punk 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 Maurizio. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The Cramps 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Dual Sessions,
Peter & Gordon,
Avey Tare,
Ultra Naté,
Young Marble Giants,
Kool Moe Dee,
Fort Wilson Riot,
Half Japanese,
De La Soul & Jungle Brothers,
Sexual Harrassment,
Sunsets and Hearts,
Soulsonic Force,
Pharaoh Sanders and the Fire Engines,
Ohio Players,
Nick Fraelich,
It's A Beautiful Day,
FM Einheit,
Magazine,
Steve Hackett,
T.S.O.L.,
X-101,
The Moody Blues,
Eurythmics,
Kayak,
The Neon Judgement,
World's Most,
John Holt,
Cluster,
Erasure,
Amon Düül II,
Bronski Beat,
Royal Trux,
The Smoke,
London Community Gospel Choir,
Vainqueur,
The Star Department,
Neu!,
Maleditus Sound,
Adolescents,
Cabaret Voltaire,
The Gladiators,
Massinfluence,
Susan Cadogan,
Model 500,
In Retrospect,
The Divine Comedy,
The Vogues,
the Association,
Television,
Alison Limerick,
The Slits,
New Age Steppers,
Metal Thangz,
Oblivians,
The Offenders,
JFA,
The Fuzztones,
Nik Kershaw,
Crash Course in Science,
The Dave Clark Five,
Lalann,
Intrusion,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.