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 Kyrgyzstan and from Hong Kong.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Accra and Winnipeg.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Eve St. Jones to the rock kids.
I played it at the Troubador.
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 Harry Pussy. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Johnny Osbourne 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker + Sunn O))),
Letta Mbulu,
Kerri Chandler,
Brass Construction,
Jesper Dahlbäck,
Delta 5,
Stereo Dub,
Magazine,
Oppenheimer Analysis,
Bobby Womack,
Mark Hollis,
The Barracudas,
Jimmy McGriff,
MDC,
Tom Boy,
Godley & Creme,
Jandek,
Josef K,
Max Romeo,
Skarface,
Japan,
Radio Birdman,
Big Daddy Kane,
Aural Exciters,
Siouxsie and the Banshees,
Barclay James Harvest,
Strawberry Alarm Clock,
Eric Copeland,
Carl Craig,
Chrome,
T.S.O.L.,
Electric Light Orchestra,
Soul II Soul,
Section 25,
Babytalk,
Can,
Von Mondo,
Gang of Four,
Marcia Griffiths,
Sonny Sharrock,
Rufus Thomas,
Monks,
Maleditus Sound,
cv313,
Little Man,
New Age Steppers,
Ludus,
Thompson Twins,
Nation of Ulysses,
Scientists,
The American Breed,
The Young Rascals,
Alison Limerick,
Echo & the Bunnymen,
Robert Hood,
Second Layer,
James White and The Blacks,
The Trojans,
Desert Stars,
Charles Mingus,
Richard Hell and the Voidoids,
Liliput, Liliput, Liliput, Liliput.
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.