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 Mauritania and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Deadbeat to the grunge 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 Unrelated Segments. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Animal Collective,
Flamin' Groovies,
Bobby Byrd,
Eli Mardock,
Louis and Bebe Barron,
Pagans,
The Associates,
Audionom,
Carl Craig,
the Sonics,
Lee Hazlewood,
Lou Reed,
Quadrant,
Slave,
Marshall Jefferson,
Technova,
Los Fastidios,
Letta Mbulu,
Andrew Hill,
Boredoms,
The Velvet Underground,
H. Thieme,
Ultramagnetic MC's,
The Slackers,
Lou Reed & John Cale,
Sixth Finger,
Kevin Saunderson,
The Count Five,
Popol Vuh,
Jawbox,
Bang On A Can,
Peter and Kerry,
London Community Gospel Choir,
Cameo,
Gil Scott-Heron & Brian Jackson,
Heavy D & The Boyz,
FM Einheit,
The West Coast Pop Art Experimental Band,
Depeche Mode,
L. Decosne,
Quantec,
Pet Shop Boys,
Brand Nubian,
Sister Nancy,
Rotary Connection,
Yazoo,
DeepChord presents Echospace,
Flash Fearless,
Arthur Verocai,
Swell Maps,
Con Funk Shun,
Section 25,
Derrick May,
The Mighty Diamonds,
The Dirtbombs,
Alison Limerick,
The Cowsills,
Deepchord,
Masters at Work,
David Axelrod,
Public Enemy,
Laurel Aitken,
Fear, Fear, Fear, Fear.
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.