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 Ghana and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Oneida to the funk kids.
I played it at the Roxy.
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 Stooges. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Görl record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
ABC,
Inner City,
Avey Tare's Slasher Flicks,
Steve Hackett,
Strawberry Alarm Clock,
Jeff Mills,
Thinking Fellers Union Local 282,
Idris Muhammad,
David Bowie,
Jesper Dahlbäck,
Derrick Morgan,
John Holt,
Patti Smith,
Nils Olav,
Fifty Foot Hose,
The Names,
Ludus,
Throbbing Gristle,
Wolf Eyes,
Ultramagnetic MC's,
Blake Baxter,
Chris & Cosey,
Japan,
Nik Kershaw,
Leonard Cohen,
Black Bananas,
Angels of Light & Akron/Family,
The Buckinghams,
Charles Mingus,
Mandrill,
Monolake,
The Slits,
Talk Talk,
Main Source,
Kevin Saunderson,
The West Coast Pop Art Experimental Band,
DJ Sneak,
Unwound,
Joyce Sims,
Moss Icon,
Pulsallama,
The Velvet Underground,
Byron Stingily,
Danielle Patucci,
Barclay James Harvest,
Erykah Badu,
Amon Düül,
Amon Düül II,
Shuggie Otis,
Clear Light,
The Doobie Brothers,
Arthur Verocai,
Kas Product,
Tears for Fears,
Grauzone,
Cluster,
The Cosmic Jokers,
Avey Tare & Kría Brekkan,
Oppenheimer Analysis,
DNA,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.