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 Ireland and from Milan.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1971.
I'm losing my edge.
To all the kids in Portland and Tokyo.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Fugazi to the rap 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 Larry & the Blue Notes. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Deakin,
Sex Pistols,
Spoonie Gee,
The Dead C,
The Doors,
the Swans,
The Slackers,
The Electric Prunes,
Vladislav Delay,
The United States of America,
The New Christs,
Soulsonic Force,
Aural Exciters,
Angry Samoans,
Siglo XX,
Carl Craig,
Pet Shop Boys,
Major Organ And The Adding Machine,
Little Man,
The Cowsills,
Vaughan Mason & Crew,
Thee Headcoats,
Tom Boy,
Andrew Ashong & Theo Parrish,
Tim Buckley,
Lizzy Mercier Descloux,
Flipper,
The Fortunes,
Infiniti,
Lou Reed & Metallica,
Lou Christie,
Mantronix,
Jerry Gold Smith,
Von Mondo,
Unrelated Segments,
Rosa Yemen,
Dr. Dre and Snoop Doggy Dog,
Alison Limerick,
Bobbi Humphrey,
Bobby Byrd,
Rekid,
Babytalk,
The Zeros,
Pagans,
MC5,
Todd Rundgren,
Quantec,
Wasted Youth,
The Alarm Clocks,
Johnny Clarke,
The Men They Couldn't Hang,
the Germs,
Bob Dylan,
Heaven 17,
Jerry's Kids,
Dual Sessions,
Kool G Rap & DJ Polo,
Bobby Hutcherson,
Amazonics,
Marc Almond,
Echospace, Echospace, Echospace, Echospace.
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.