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 Yemen and from Edmonton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Electric Light Orchestra to the dance kids.
I played it at the Hacienda.
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 Human League. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Skarface 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Flash Fearless,
It's A Beautiful Day,
The Doobie Brothers,
Heavy D & The Boyz,
The Blackbyrds,
Ash Ra Tempel,
Camberwell Now,
Rhythim Is Rhythim,
Gary Puckett & The Union Gap,
Technova,
Main Source,
Scientists,
Jimmy McGriff,
Jeff Mills,
Roy Ayers,
Skarface,
The Offenders,
Kool Moe Dee,
Pussy Galore,
These Immortal Souls,
Underground Resistance,
Unrelated Segments,
Crime,
The Fall,
kango's stein massive,
Sam Rivers,
Mr. Review,
Fort Wilson Riot,
Gian Franco Pienzio,
Anthony Braxton,
The Blues Magoos,
David Axelrod,
Wally Richardson,
Terrestrial Tones,
Dual Sessions,
Harmonia,
The Five Americans,
Michelle Simonal,
John Cale,
Letta Mbulu,
Howard Jones,
One Last Wish,
Amon Düül,
Jerry Gold Smith,
Orchestral Manoeuvres in the Dark,
Silicon Teens,
Gang of Four,
Public Image Ltd.,
The Jesus and Mary Chain,
Rosa Yemen,
The Doors,
Skaos,
Avey Tare & Kría Brekkan,
Nico,
Hasil Adkins,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.